Probably the question about the light with which DOPs prefer to work on the set is more decisive for the cinematic result than the question about the camera used, or in other words: If you know how to handle light, you should also be able to produce "cinematic results" with your smartphone. Nevertheless (or for that very reason), the question about the favourite light of leading DOPs should probably not be answered with "one" light:
In addition to the wide range of "favourite lights" listed here, we also find the individual criteria for one or the other light, which are always translucent, most exciting: flexibility and reliability are recurring criteria. The same goes for "size" (above all due to the correspondingly large diffusion frames / butter fleece).
And then, of course, there is the "magic" component, when there is talk of "light arcs" that are no longer produced, or of the certain "quality" of a certain light, as with the ARRI T12 or the Mole Richardson lights (Molebeam), which are also mentioned several times.
And never before have there been so many film lights available that have been designed more and more specifically to meet the challenges of a particular set. Probably that&s the best light you&ve just used - or which one you make to become "simpler" ...