Help?

Bottom line up front:

I recently purchased a giant lot of equipment and I am now in possession of a unique item that I am not sure what to do with.

The item in question is a 1200lb, rollerized, cantilevered, counterbalanced soft box set up extendable up to 16 ft tall. When I hook up the lights I have, I can output 8000 w/s of power. *Photos attached*

It was created by a Boeing engineer and used in some of the Marlboro Man ad campaign.

I know things I want to use it for however.... it is 1200lbs and I would have to rent a trailer for every use. Then comes the storage of the beast.

Or I could sell it to someone who could utilize it more practically.

Either way, I just need some back and forth on this.

To start the conversation:

Q: Why?

A: I am not sure yet. The concept is awesome.

Q: What do I shoot?

A: Currently, I shoot mostly military stuff, a bit of air-to-air, and am about to get into large format work of landscapes, architecture, and fine art.

Q: What the hell can I shoot with 8000w/s of light?

A: All of Spokane, WA I think.

Ok, go.

Thanks, ya'll.

Brings a whole new meaning to "Studio Lightbox".

I know things I want to use it for

The 'want' tends to make me think that the 'thing' is driving the answers to: "What can I use this thing for?"

What I mean is, it occurs to me that you did not have a job and then go out and source this 'thing' for that job. I am not suggesting it was a silly purchase - it might be a windfall, or it might be something with many uses for you, or it might be you just keep it because you like it.

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If it were mine, it would be a simple business decision: it's quirky, but it is way too big and cumbersome for me to get emotionally involved.

I'd reckon what I paid for it: reckon how much I could sell it for and how long it would take to sell it; reckon if there is an hire market for it and what I could hire it for, including the cost of a trailer to put it on and cost of storage, or building storage.

Whatever had the best bottom line, accounting-wise, that's what I'd do.

WW

Whatever had the best bottom line, accounting-wise, that's what I'd do.

Good idea!

Dunno, to me it seems scary. Maybe you are a forklift owner shooting for other members of that scene but if not: How to get the thing off your trailer at desination? and back on later?

Can it buy your team some kind of expensive time at all? I'm clueless I don't shoot big stuff demanding light in that height. I think if I was, I'd utilize a way lighter mobile scaffolding as a light stand just to keep bits moveable at all. Outdoors I'd maybe dream of lights on a vehicle mounted mast.

large format work of landscapes, architecture, and fine art

Such stuff might benefit from light from above but should also permit rigging that up slowly?

As a rule of thumb (which I am not stricly following myself): Stuff you can neither use at your home studio nor haul elsewhere by your regular means should be pretty high in your "out tray" or on your "to go" list.

Brings a whole new meaning to "Studio Lightbox".

 

 

 

The 'want' tends to make me think that the 'thing' is driving the answers to: "What can I use this thing for?"

 

What I mean is, it occurs to me that you did not have a job and then go out and source this 'thing' for that job. I am not suggesting it was a silly purchase - it might be a windfall, or it might be something with many uses for you, or it might be you just keep it because you like it.

 

***

 

If it were mine, it would be a simple business decision: it's quirky, but it is way too big and cumbersome for me to get emotionally involved.

 

I'd reckon what I paid for it: reckon how much I could sell it for and how long it would take to sell it; reckon if there is an hire market for it and what I could hire it for, including the cost of a trailer to put it on and cost of storage, or building storage.

 

Whatever had the best bottom line, accounting-wise, that's what I'd do.

 

WW

It was included in a purchase of a commercial photographers entire lot of equipment. I purchased 3 van-loads of equipment (to include this as something that I did not know until the purchase was finalized) for a stupidly low price. So, it was not part of the original decision-making process.

I appreciate the input, William.

I guess it's best to sell it but I wonder what kind of power needed to run it?

It has a frame in which you insert up to 5 heads in the top. The strobes just run off of the power boxes they come with. There are two power boxes for illustration in the photo.

Good idea!

Dunno, to me it seems scary. Maybe you are a forklift owner shooting for other members of that scene but if not: How to get the thing off your trailer at desination? and back on later?

Can it buy your team some kind of expensive time at all? I'm clueless I don't shoot big stuff demanding light in that height. I think if I was, I'd utilize a way lighter mobile scaffolding as a light stand just to keep bits moveable at all. Outdoors I'd maybe dream of lights on a vehicle mounted mast.

 

Such stuff might benefit from light from above but should also permit rigging that up slowly?

 

As a rule of thumb (which I am not stricly following myself): Stuff you can neither use at your home studio nor haul elsewhere by your regular means should be pretty high in your "out tray" or on your "to go" list.

What I have tentatively proposed to do is to mount it to a small trailer. It is much easier to move around, transport, and store on a small trailer.

What I plan to shoot with it are:

1. cars/trucks on location

2. aircraft on location

I purchased 3 van-loads of equipment (to include this as something that I did not know until the purchase was finalized) for a stupidly low price. So, it was not part of the original decision-making process.

Understood. Logical "Bucket Purchase at the right price" - I have done similar. Thanks for explaining that point.

***

What I have tentatively proposed to do is to mount it to a small trailer. It is much easier to move around, transport, and store on a small trailer.

 

What I plan to shoot with it are:

1. cars/trucks on location

2. aircraft on location

If the storage of it is cost effective, then this too sounds logical: I think it will have the same value as a sale item in 12 months time as now, so may as well try it out for your work. On a trailer it could be easily kept in a rental storage space: we (our business) have lots of gear (not all Photographic), which we use infrequently stored in a relatively inexpensive facility - that works well for us.

In the meantime I still would investigate renting it, while its not working for your jobs, it could well bring in some extra funds.

WW

Understood. Logical "Bucket Purchase at the right price" - I have done similar. Thanks for explaining that point.

 

***

 

 

 

If the storage of it is cost effective, then this too sounds logical: I think it will have the same value as a sale item in 12 months time as now, so may as well try it out for your work. On a trailer it could be easily kept in a rental storage space: we (our business) have lots of gear (not all Photographic), which we use infrequently stored in a relatively inexpensive facility - that works well for us.

 

In the meantime I still would investigate renting it, while its not working for your jobs, it could well bring in some extra funds.

 

WW

Fair enough. Makes sense to me. I had not thought about renting it. I appreciate that suggestion.

Trailer mounting might make indeed sense. - Be sure to have an option to lock the rotation of your softbox in place, when the ground below your trailer is uneven or wind isn't in your favor.

Whatever you'll use securing the thing on the march: Make it quick and convenient to remove (and pack a 2nd copy, in case it is easy to steal).

Advertising shots of cars are nearly all CGI generated these days, and those that aren't are shot in custom-designed studios the size of a small aircraft hangar with built-in lighting.

Looks like you have a solution in search of a problem on your hands. And, like, why would anybody design a softbox so heavy that it needs its own 'cherry-picker' to hold it aloft? Had they never heard of fabric, fibreglass, or even aluminium sheeting?

It has a frame in which you insert up to 5 heads in the top. The strobes just run off of the power boxes they come with. There are two power boxes for illustration in the photo.

I mean electrical power. What kind of voltage and current needed. What kind of a plug?

8000 Ws gets hot. Needs something that can stand the heat.

Assuming that 8000 Joules puts out 20 times as much light as 400 Joules, who the heck is shooting at 25 ISO these days, or stopping down past f/32???

Definitely a solution in search of a problem.

P.S. The diffuser looks as if it's made of Perspex (Plexiglass), which is well known to buckle under heat.

Advertising shots of cars are nearly all CGI generated these days, and those that aren't are shot in custom-designed studios the size of a small aircraft hangar with built-in lighting.

 

Looks like you have a solution in search of a problem on your hands. And, like, why would anybody design a softbox so heavy that it needs its own 'cherry-picker' to hold it aloft? Had they never heard of fabric, fibreglass, or even aluminium sheeting?

this was originally created for the Marlboro Man Ad Campaign in the 80s. I just happened to now be in possession of this soft box.