LED panels have it all. They are light weight and have a flat light with minimal shadows. You can dim them or adjust colour balance with a single knob. Some LED lamps can even be spotting for higher brightness in a smaller area. They never run hot and can be used with 12 volt V-lock batteries which eliminating hazardous mains cables and can be packed away instantly after use, as there is no cooling down time.
I use two LedGo lamps with V-lock batteries. They seem to run for days without the need for re-charging. Also they are lightweight and give a smoothly variable light output without flicker. And they have individual brightness controls for their 300 daylight LEDs and their 300 tungsten LEDs. If you turn them both up you can get a really bright light output from all of the 600 LEDs.
The pair of lights are ideal for indoor locations and are really useful for interview situations as they give a soft controlable light without any heat whatsoever from their 600 LEDs.
Additional artistic LED lighting
I do have a couple of LED industrial worklights that are very blue and are in effect a spot light. These are often used on the floor and pointed upwards at an angle to light a wall with a streak of blue light which can be very artistic and pleasing in the right location.
How we used to light
For years the film industry standard lighting has been tungsten filament lamps. My original lighting kit consisted of three red head lamps. Each of the DXX lamps or bubbles as they were known were 800 watt and ran very hot for a guaranteed 1000 hours. They were expensive too at about £11 a pop. They also needed an annual PAT test to be allowed into many safety conscious locations.
They were often used as interview lights and when all three were running, the room and talent were often as hot as the lamps themselves! Sometimes the bubble became too hot and the glass melted and exploded, showering molten glass across the room.
No going back to tungsten
But now at last we have a fantastic alternative with the modern LED light panels. No more putting diffusion over the red head barn doors to create a flatter light. No more adding blue gel to try and balance to daylight or ND (neutral density) filter gel to drop down the intensity. No clicking lamps as they heated up and expanded, no burning ceiling tiles, no tripping over cables and gaffer taping down extensions or fitting fuses after lamps expireing in the middle of interviews…
I will never go back to the red head kit, the LEDs win by a mile, every time. Anyone want to buy my old red head kit? I still have a few spare lamps and 13 amp fuses…