I agree with the above responses. I learned lighting in film and TV. When I was shooting comercialy I mainly used strobes, but started mixing in Kinos, then a bunch of Arri 1 and 3ks, then an Arri Sun and other HMI's. The cabeling, crew (you need grips for this stuff, its usually not in the average assistants' experience), multiple distro boxes, heavier grip equipment (ever use a Cinevator?) and massive power on location presents a challenge. When I was doing comined film and stills, we used Red cameras and 5D2's, bumping the ISO so that we could use the least amount of power possible.
You will also need to up your grip skills, or really "cross train". I always made my own mdifiers for continious, because alot of the stills modifiers just don't exist for a 1k fresnel. I was obsessed with building a hot light modifier like the big Briese Focus. I did it in the end, with difussion and grided fresnels, but it took a long time to set up. In the end I jut rented a Focus and use dthe Briese HMI.
That being said, I like continious, I like how digital reads 3200k as a white point, makes things look nice, puts a heen on skin rather than penetrating it like 5600k sources.
Kee in mind that it is not really What You See is What You Get. More so than strobes, but at the same time, the DR of the scene you just lit will be compressed to what is viewable on a monitor and eventually print. So those shadows will go dark, the highlights may be lost, etc. In short, I'd hang oin to my Pro 8 and get some HMI and Kinos, maybe a Arri fresnel, and experiement. See if the extra pain is worth it.