All language subtitles for Light shaping and control tools

so now that Greg and I have talked about these

different lighting fixtures

I wanna talk to you a little bit about

how we control that light

and we're gonna be doing it

all over the place over the next few days

I'm gonna talk first about one of my favorite ways

to create fill light

especially for lighting intruding interviews

which is really the bread and butter

of what a lot of us do for a living

so this is just a little nano stand here

which is a collapsible

very small light stand

and on here

I have what's called a mini grip head

this one's made by Matthews

and something called a mini Mathellini

if you've ever seen a Cardellini

clamp or a Matholini clamp

this is just a small version of that

so Nano stand

mini grip head

mini Mathellini

and I have a reflector

this particular one isn't made anymore

but it has a Little Silver gold on one side

and it has white on the other

I generally use white all of the time

and because it has a rigid handle

and there are other reflectors on

the market that do have rigid handles

I can go ahead and set that light

and I call it a light

because it is actually filling in and doing a job

anywhere I want

I can lock it down

and because of that rigid handle

it stays where it's supposed to stay

and this is again

something that I use all of the time

especially for lighting and shooting interviews

when you get into larger spaces

you may wanna use an actual light for your fill light

or if you are shooting lots and lots of interviews

over and over in the space

sometimes what we'll do is we'll take an

actual light source

like that little remote foster light

that I showed you earlier on

that Matchbox

or another bi color light

and will bounce it off of a reflector like this

usually off of white

and we can just dial up and down how much fill we want

depending on the person that's sitting there

so that's a great solution for that

so let me move this out of the way

um let's talk about this right here

so this is a 40 inch arm

coming off of this sea stand

and if you look here

I've got this little solar light

there's a pin

and this pin is what's allowing me to take this 5

8 female attachment

and attach it to this arm here

pins don't generally come with

sea stand rentals

you have to buy them separately

I always have two or three of them

with me when I travel

they're a little heavy

they're inexpensive

eight to ten dollars

and that way

when you rent some C stands

when you show up at a location

you always have a way

to attach a light like this

so definitely something you should have

inside of your kit

you'll also see here that it's rigged in a

really smart way

where the 5 eights is now attached to a 3 eights

um which is now on a

monfrodo ball head

I use these things all of the time

and I'm really happy that Greg does as well

because it gives us complete control

in terms of the position of the light

and we don't have to mess with all of this stuff

we don't have to take the head here and loosen it

and turn it and all that stuff

and then we have another C stand hooked up here

and this is not something you have to use all the time

you can rent or buy big

wood or metal

cucoloris or cookies

which break up a light pattern

this is a piece

of camo from an

Army Navy store

and we just take a couple of a clamps

put that in here

and when we shine a single light source here

like a for now light

we get a nice break up pattern

for a background if we want to use it

so that's a really cool solution

and the ever important

and should always be there in your kit

tennis ball

and you should have quite a few of these

um they're easy to travel with

if you go to rental house

they should have some

if they don't

just go pick some up from a sporting goods store

and put them on the ends of these arms

because it's a difference between somebody

getting hurt on set and not um good

so that's that stuff

and I've got a few more things to show you

this is something that a lot of people have been

using in production for a long time

especially for narrative projects

it's called a book light

sometimes it's called a 7 minute drill

because a crew

usually takes about seven minutes to build it

but it doesn't look exactly like this

the whole concept of a book light is

you're taking a light source into something that

you're gonna bounce light off of

and then go through some sort of diffusion

and that's gonna become your light source

so it's a bounce and diffuse type of

light control

and what it does is it creates an incredibly soft

wrapped light around your subject matter

and whether it's objects or people that you're shooting

it's a fantastic way to light things

people always look good

when they're lit with book lights

so we're gonna use this a lot

this is an actual free standing book light

it's based on a

system called Scrim

Jim Cinny from westcot

and this is a kit that I actually designed

and it collapses

down into individual parts

it's very modular

these are two 4 by 6 frames

and what we have here is we have an unbleached muslin

which is a great soft

bounce source

on the other side of it

it actually has duvatine

so you can use that for negative fill

or to block light

on this side here

we also have a white

and silver bounce

so you have a lot of options in

terms of how you can bounce the light

and over here

for diffusion

a three quarter stop diffusion

which is great if

you don't have lights that have a lot of output

and then my favorite

for diffusion here is a half grid cloth

so I my favorite combination is the unbleached muslin

and half grid cloth

we might use

a different combination for the shoot

but this is going to be used a lot in this production

you can even break it apart into separate frames

build other sizes

so it's really

an erector set

of lighting control

um over here

I have taken this little 2 section

articulating arm from monfrodo

and I've attached this little frame

a modified version of a flex frame from Westcott

with a ball mount

so we can position it wherever we want

and this is

allowing me to now take this light

off of a single light stand

and I'm pushing it into

right now a 4 foot by 4 foot

piece of bead board

this was picked up at a home improvement store

Lowe's I think

for this one

we bought this in a 4 foot by 8 foot piece

cut it in half

you've got two four by fours

in fact another trick

that we don't have here is

you can then cut this

or score this in half

and put white gas tape on it

so it stays together

and then you can fold it into a 2 by 4

so it's easy to put in the trunk of a car

in the back of a car

and we've attached this with a quacker clamp

which is perfect for this type

of material

because it's very lightweight

and again we get this beautiful

bounce source

to me this is one of the easiest

ways to create Rembrandt lighting

where you get that nice

little triangle of light

this is kind of a temporary solution

when I want it to be more permanent

I'm gonna use a frame like this

this is also built on scrim Jim Cindy

this is called the DP kit

and it's built out of 22 inch tubes

so you can actually travel with it

sling it over your shoulder

and again it's got

little connectors here

so it breaks down

and right now

what I have is

I have a white and a silver

the white could be used in place of this bead board

and this quacker clamp

and then just take a Mathelini clamp

and we can just attach it

and we'll probably

use this in the course a lot as well

this is also fantastic

if you put diffusion in front of it

or you bounce off of it

to put outside

of a window

it's used all the time

our Joker 400 bug

or 800 bug pushed into this

is gonna create a really

really nice

soft source

coming into a room

as we saw before

we kind of got lucky here

and we found this

big frosted

panel of glass

but what happens when

you don't have that

but what you can do is

you can bounce

a light source

right off of something like a 4 by 4 frame

we could also

bounce it off of something like this

the book light rigged

but just break

the frame apart

and have a 4 by 6

out there by the way

this can actually break down

we can make a 6 by 6

out of it as well

and we can create

a similar type of effect

just using this frame base system

so that's pretty awesome

so speaking of 4 by 4

lighting control

one of the other things that we use

all of the time

to control light

is something called a

floppy cutter

and this is a

version of the

floppy cutter

we actually have one on the

rigid frame

that's hung

outside here to help

stop the light

coming into the space

so it's more controlled

this is using the DP kit

which is a portable 4 by 4 frame

but we actually have

the same version here

but in a portable

kit so you can see here

this 4 foot by 4 foot

piece of duvatine

opens up to a 4 by 8

and we can use this as a

big negative

fill source

especially outdoors

but indoors as well

and we can block

huge light sources

and when we talk about

getting away from the idea

of that sort of traditional 3 point

and 4 point lighting

and we're using single

big key sources

one of the things that

you're gonna have to deal with is light bouncing

all over the place

that's where things like floppy

cutters come in handy

because we can take a lot of light

spill that's going on

the background

we can control that using something like this

and we can now get that

really beautiful

wrapped light

but we don't have to

have a small soft box

which is a smaller surface area

which is a much better

way to light

in my opinion

so there you go

that's a little overview of some lighting control

instruments

and fixtures

and frames and

all kinds of stuff

we're gonna be showing

you more in the course

but I think that's a good overview

so that when we go through everything

and you start to

see this stuff being used

you'll know what

the job is of

each of these tools