Customers tend to ask for wattage. What they really need to decide first is the type of light, because that changes what the picture looks like far more than another 50W does.
Panels: soft light with no setup
An LED panel spreads its output across a wide face, so the light is soft straight out of the bag. No softbox, no assembly. That makes panels the easy choice for interviews, streaming desks, classrooms and small studios, and the easiest lighting sale to a first-time buyer.
In the Farseeing range, panels run from 20W fills to a 260W high-output unit, in daylight and bi-colour. Bi-colour costs a little more and saves a lot of grief when the room has mixed window and ceiling light.
COB lights: one hard source you can shape
A COB light puts all its output through one small emitter. On its own that gives a hard, punchy light. With a softbox, lantern or projection attachment on the front it becomes almost anything. That flexibility is why COB lights have become the standard key light for video.
The trade-off is that the customer needs modifiers and a stand that can carry them. Farseeing's COB range runs 60W to 300W, and the Z series adds a focusable spot for throwing light further.
DMX spots: for grids and stages
When lights go up into a studio grid, a theatre bar or a church stage and stay there, they need to be controlled from a desk. That is what DMX is for. The FS-LED spots come in 100W, 200W and 300W with DMX built in, daylight or bi-colour. These are project lights, and we would rather see the lighting plot before you quote than after.
A sensible starter kit
For a dealer putting together an interview kit: one COB light in the 150W class as the key, one bi-colour panel as fill, a small on-camera light for emergencies, two V-mount batteries and a dual charger. It fits in one wheeled bag, and each part can be upgraded later without throwing the rest away.
Do not forget the power. A light that runs on V-mount batteries is only useful if the customer leaves with batteries and a charger.