Obviously, strobe lighting doesn’t work for video. There are a ton of options for continuous lights for rental and plenty of reasonably priced options for purchase. Lights like the K 5600 Joker-Bug models have proven popular for both still and motion projects. Fresnels are among the most common types of light on any movie set because of their ability to put out bright, collimated illumination. Some lighting companies offer dedicated Fresnels, and others make Fresnels that are modifiers designed to be attached to different light heads.
Dedicated 4K Motion Cameras
Like a lot of photographers, you may have cut your teeth with a Canon EOS 5D Mark II or similar camera. Over time, however, client needs have evolved, and the buzzword in motion now is 4K. There are mirrorless cameras that can output 4K, or you can make the leap to a camera like the RED SCARLET or EPIC DRAGON. The RED cameras are true still + motion cameras that can capture full 4K (and higher)-resolution footage. You actually can pull a frame from the motion stream to use as a still shot, and it’s full resolution and there’s no line skipping. RED cameras can take a variety of lenses. They’re high-end pieces of gear for high-end work.
Adding a little movement as you’re shooting static scenes makes the footage much more dynamic. Like the often cited Ken Burns effect, the shot feels like it has a lot of movement even though it’s basically a still. A simple manual slider is all you need to pull off such an effect with some practice. At the other end of the spectrum, you can go for a fully programmable, motorized unit that allows you to control camera movement in several axes at once with variable rates of movement like the Kessler CineDrive.