All language subtitles for 00.1 Gear.mp4

Today we're here in my studio, and I'm
surrounded by all the gear that I use

on a daily

and weekly basis.

It might seem like a lot, but I'm going
to walk you through each individual

item here and basically tell you

how I use it and why I use it.

So throughout this tutorial, I'm going
to be mixing up.

I'm going to be using the equipment
that I first started with, the least

expensive stuff, and then I'm going to
be moving up to the equipment that I

use now, which is

more expensive.

The equipment that I've really worked
up to.

You see that there's a huge price
difference between pro photos and

alienby's, or a phase one system and
the cannon system.

But the point is that you don't have to
have this specific equipment to produce

the images that you're going to see
throughout this tutorial.

So now you've seen all this equipment
that I use on a daily basis, I'm going

to walk through each individual piece
and show you specifically

what it does and why I need it.

So the first piece of equipment I want
to walk through is my workhorse.

My main camera it's a cannon five d.

Mark three.

And the reason why I love this camera
so much is it's durable, it's

easy to use, and it still produces an
amazing quality image.

Although I've upgraded cameras
throughout the years.

I just want to be clear that many of
the images that you've seen in my

portfolio throughout that time

were shot on much less expensive
cameras than this point.

B, it's not about the camera, it's
about a vision.

It's about your mind and your eye.

When I first started in photography, I
had an icon d 5000,

which eventually was an icon d 7000,
then a nicot hundred.

So you're probably asking why I switch
from nicot to cannon.

And it really boils down to three small
personal preferences.

I feel the lcd on the back of the
cannon system has a lot more contrast.

Also, because of this unique wheel in
the cannon system, I'm able to review

my images at a very rapid pace.

Nicoon.

You just can't do that.

And the last and most important reason
is that I've always felt cannon was a

little ahead of nicone in the video
space.

And video is something I do a lot of.

I own two cany and five d mark threes.

And the reason is, one is for backup.

Backup is very important.

In case this camera breaks or stops
working, you need to have a backup onset.

Secondly, my backup camera allows us to
shoot background plates from when we're

compositing.

It also gives us the ability to shoot
behind the scene stills and video when

our client requests that.

So I use these two cameras on nearly
ninety of all my projects.

The cane and five d mark three is my
workhorse.

For the other ten percent of my shoots.

I use the phase one system.

This is a phase one I q 380 with a
phase one xf.

Body.

There are three main reasons why I
really love this system.

The first being the dynamic range.

I can really play with detail and post
processing.

Secondly, the leaf shutter in this
camera system allows me to go past that

1200th of a second sync speed, which is
found in most cameras.

This really comes in handy when I'm out
on location in a bright, hard sun and

have to control that exposure.

And the third and final reason is that
this camera provides this intangible

brand value.

When I work with high end clients, they
might have seen the cannon system, or

they might have seen a Sony system.

But when I bring in a phase one system,
my clients know that they have made the

right investment.

They've hired the expert because I'm
bringing in top of the line equipment

that almost none of my competition is
working with.

So I know this camera is super
expensive, but I want to make sure I

show you guys this camera.

Because I do use it in about ten
percent of my projects.

There are times when I need the best
quality I can possibly get.

And so for those times I bring in a
phase one system.

The final camera that I do use every
now and then is a memea r z 67.

This is a film camera.

It's got a 120 back.

So I use portrait 400 codach film to
really produce some interesting, unique

images that my cannon and my phase one
system can't produce.

I use this medium format camera very
rarely, but there are times when a

client has a specific quest for that
look that film provides.

Now that we've talked about the main
camera systems I use, let's talk about

the lenses that I use for the cannon
five d mark three.

It all starts with this.

It's a fifty millimeter prime 1.2.

I use this very rarely, but I'd like to
use that when I want that nice,

painterly boked background that a
client might specifically request.

There are a lot of variations of this
lens.

There's a 1.4

and there's a 1.8.

But of all those variations of this
lens, I end up buying the 1.2

because I wanted the most shallow depth
of field possible.

Ironically, I don't even use this lens
anymore, but if you want that nice

paintily bokeh background, and this is
the lens for you, my next lens is the

canon sixteen to 352.8.

I do use this lens often for background
plates and landscapes and things of

that nature, but it really distorts the
body because it is so wide, so I never

reuse it for people.

Another lens I want to introduce you to
is the cannon seventy to 200 f, 2.8.

For a lot of photographers, this might
be the go to portrait lens, but for me

it's something I rarely use.

The main reason why I dislike this lens
is because it Forces me to step away

from my subject.

In turn, I lose that emotional
connection.

And because I have to step back and be
so far.

The compression caused from that
distance isn't something that I won in

my final image while I rarely use this
lens.

I do like to keep it in my bag, just in
case a client has a specific vision

that requires me to shoot telephoto.

The next lens is a cannon 24 to seventy
f 2.8.

I love this lens a lot, and I would
consider this to be my workhorse.

You're going to see throughout this
tutorial.

On all the images I shoot, I stick
between 45 and 55 millimeters in the

focal length.

And

the reason why I do that is because I
feel like it's the closest to the human eye.

The reason why I use this lens over the
fifty millimeter is that it gives me

that versatility

to go wide or zoom in if I need to.

It's also nice to have just one single
lens that I can pack that does it all.

For most of my images, I actually don't
like to shoot wide open.

I like to stick between f four and fh.

So you could probably purchase the f
four version of this lens.

But I like to have the versatility of
shooting wide open if I need to.

And also, this lens is a lot sharper at
f for then the f four lens.

Now that I've walked you through my
cannon lenses, for my cannon system.

I want to introduce you to my Schneider
lens.

This is a forty to eighty

f Ford 56.

And this is solely designed for the
phase one system.

This focal length is very comparable to
24 to seventy.

But because I'm shooting on a medium
format, there is a crop factor that you

have to take into consideration.

I found that that fifty millimeter
focal length for the cannon dslr system

is almost equivalent to around eighty
millimeters on this lens.

So at the end of the day, it is the
only lens I need for the phase one system.

So when I attach this lens to this,
body becomes a beast of a system.

It's really heavy, and it's not
something I would use if I was

traveling or attempting the handhold
all day.

Now that I've introduced you to all the
cameras and lenses that I use on a

daily basis let's not get into lighting.

So the simplest form of artificial
light that I use is.

This it's a can 600 exrt.

Speed light.

We will be using this speed light early
on in this tutorial.

But I want you guys to remember that
much of my early work was created with

this single scrobe here.

Well, this is a more expensive speed
light.

You can get speed lights from anywhere
between fifty to 600 dollars.

The benefit of the speed light is that
if you're in a pinch and need

artificial light in a small space or

on an extreme location, a speed light's
going to come in really handy for you.

So the biggest problem with a speed
light is that it can't overpower the

sun.

And if you're shooting at full power,
the recycle time is very slow, which is

going to slow down the entire chute.

Once I realized that I needed a more
powerful source of artificial light

than the cannon's speed light, I
invested into one of these it's an alienb

b 800 from palsa buff.

The best part about these strobes is
that there are 320 Watt seconds,

meaning there's a lot of power here,

a far more power than what the cane
speed light can provide.

These drugs accept modifiers a lot
easier than that can in speed light.

And they're a lot less expensive.

When I first invested into this light,
it was just a few hundred dollars, and

I could have two of these for the price
of that cannon speed light.

There are advantages and disadvantages
to using this light.

One of those advantages is that I can
plug this into a wall.

The disadvantage is that if I had to go
on location, then I'm going to need

some source of power.

That's why I have this it's a vagabond
mini battery pack.

It's a Lithium battery pack that paulsi
buff makes as well.

It can power this strobe on location
when I don't have access to power.

The other advantage to this battery
pack is that I can charge anything that

needs to be charged while on set.

This includes phones, laptops, other
batteries.

And I travel with this often it's
really handy.

So for the money, this strobe is really
hard to beat.

It's been a foundational element to
many of the images over the years that

I've produced, and it's been my main go
to strobe for many years.

But over that time I've seen a lot of
problems and color consistency,

and I've even had a few explode on me.

So I needed something more reliable,
more durable, that could hold up on

location.

And so that's why I invested in the pro
photo d one system.

This is the pro photo d 1500.

The reason why I love this light is
because it is so durable and it is so

reliable, you can easily attach a wide
array of modifiers to this light.

And it also has a wide range of power.

So I can go very low or very powerful.

One of the perks of this light is it
can come with the air remote system,

which can not only fire the strobe, but
it can also control the settings from

faraway.

A disadvantage with this light, just
like the palsy buff b 100, is that it

does require a c power.

But there are the b ones in the pro
photo line that have an attached

battery pack that can power this strobe
on location.

Well, I don't have the b one system.

Let me show you the system that I do
use, which is the pro photo b two

system.

The way this pro photo b two system
works is that you have a single head

that's connected by this cable to this
battery pack.

this battery pack not only Powers the
light, but it also is the brain of this

entire setup.

The coolest thing about this head is
that it actually weighs less than the

can and exrt speed light.

One thing I love about investing in the
pro photo line is that whether you have

the b two, the b one, the d one, or any
other pro photo light it's the same

diameter head, so any modifier can fit
to any light.

One of the major disadvantages of
buying pro photo gear

is that it is expensive.

It is a luxury item.

But if you can afford it, I've found
that these lights are just fantastic

compared to the other pro photolights
that I've shown you.

This system is less powerful, it's 250
Watt seconds, but I find I rarely shoot

at full power.

And the mobility of this system is as
perfect for onlocation work.

Now that I've shown you all the lights
that I use, let me show you how I

remotely trigger them.

And that's through the pocket wizard
plus three system.

So the way this works is that I have
two transceivers, one axis, a

transmitter, and the other ax as a
receiver.

I put the transmitter on my camera, and
I put the receiver on my strobe.

I use these transmitters to fire my
cannon speed light,

my pro photo d ones and my palsi buff
alienbies.

You may wonder why I use the pocket
wizards with the d one.

And it's because I don't actually own
the d one system that includes the air

remote.

But what the pocket wizards allow me to
do is mix all these different brands of

strobes together to build complex
lighting setups and fire them all at

once.

There's tons of versions and models of
pocket wizards out there.

But I prefer the plus threes because
they have this group zone system, which

allows me to turn lights on and off
with ease.

The second wireless remote system I use
is the air remote ttl from pro photo.

And this remote I use solely with the
pro photo b two system.

And the reason why I love using this
trigger for that specific system is

that allows me to use high speed sync.

If you've never heard or used high
speed sync, it's a feature that allows

me to push past that maximum camera
sync speed.

It's a very handy feature for when I'm
on location, I've got bright, hard

sunlight, and I need to bring that
exposure down.

Now that I've gotten through strobes,
let me talk about how a shape light and

the modifiers are used to do that.

Here are three different umbrellas from
pro photo.

Thereby far, the most preferred style
of modifier.

We have first the small, deep white 33
inch umbrella.

Then we have the shallow white 41 inch
umbrella.

And we have these 65 inch deep white
umbrella.

So I'm going to pull out one of these
and show you what they look like.

This is the pro photos shallow medium
umbrella that's 41 inches.

It's pretty easy to use.

Just pop it up like this.

And then you attach a light to this
beam right here.

And the light actually fires into the
umbrella and reflects

back out.

Now you can add a diffusion baffle of
this to soften its light even more,

which is exactly what I do.

So let me show you how to actually set
this up

here.

I've got a c stand.

We're going to talk about that a little
later.

I've got a pro photo d one.

I attach the pro photo d one to the top
of the c stand.

Then I'm going to take the rod of this
umbrella and slide it through the top

of this pro photo.

So now that I have this mounted, I
could use the modifier like this, but I

want to make this light even softer.

So I'm going to add a diffusion panel
to the front of this

to create a nice quality light.

So I'm just going to add this diffusion
panel here to the front side of this umbrella.

And it simply attaches by laying over
the back side of it.

And there's an elastic band.

That's going to make sure it stays on.

And then you wrap this front side over
the strobe, and then you can just tie

it off this way.

So what this diffusion baffleon does is
create a much softer light than just

the umbrella alone.

So there are options out there.

There's other brands that make
modifiers very similar to this, such as

photech, otherwise known as the pho
tech soft flider.

These modifiers are available in 36
inches, 46 inches and sixty inches, and

thereby far some of the most
inexpensive modifiers on the market.

Over my career, I've probably owned
over a dozen of these pho tech soft

lighters.

The biggest problem with them is their
durability.

They just don't hold up on location.

So I've found that this 41 inch pro
photo is by far the most durable and

most reliable modifier out there.

I'm going to break this down.

We're going to move on to the next
modifier, that of use.

So the next modifier we have on hand is
the two by three rfi softbox from pro photo.

Unlike the umbrella.

The way the soft box works is that you
actually need this speed ring in order

to mount it to the strobe.

These modifiers take a little bit
longer to assemble, but the speed ring

makes it very easy to slide these on
and switch out different modifiers.

The way the soft box works here is that
the light actually fires into both of

these diffusion panels.

It's going to be a little bit more
directional, it's going to have less

spill than, say, your normal umbrella.

This particular soft box is a two by
three from pro photo.

It has two diffusion baffles, which
reduce that hot spot and create a much

softer light.

So I've found with this soft box, even
though it has those two diffusion

baffles, the light is still pointed
towards the subject.

And because this head is pointed
straight towards the subject, through

this diffusion, I've found that it's a
little hotter.

Right in the middle here, it has a
little bit of a hot spot.

So this has the tendency to add a
little bit of specularity or shine to

the skin.

So in many cases, I prefer the look of
the bounced umbrella over a soft box.

One advantage of this particular soft
box is that I can attach a grid to

really control the spill and direct the
light in the direction I want.

So I may turn on this modern light and
point towards the background to really

show you what that looks like.

So as you can see here, the background
is completely lit up in light.

So to control this, I'm going to Velcro
this grid to the front face of the soft box.

As you can see here, even though we've
lost a significant amount of power from

the light, the light is, it spilling
all over my studio it's a much more

hone controlled direction of light.

So let me just demonstrate this.

As I turn this light, you're going to
see on the background that I can

control the way this light Falls on the
background.

As you can see, I pointed this light to
the right side of this background, but

the left side is in complete dark.

But as I pull this grip off, you're
going to notice

that light is now spilling everywhere
out of this background.

So you can really see how much
difference this makes when you're

trying to control light.

I'm going to power this light off, and
we're going to move on to our next

modifier.

Here.

We have a 25 inch soft light reflector,
which is otherwise known as a beauty

dish.

And it attaches to the head of a pro
photo light with this mount here,

as you can see, it's superbeat up it's
one of my main go to modifiers in the

studio.

The unique trait about this modifier is
that it's still a soft light, but it

has a very hard edge.

And the way it works is that this light
actually fires into the back side of

this white plate and then bounces
around out through the edges of this

reflector dish.

I like to use this modifier when I need
a look.

That's harder than an umbrella or a
soft box, but

softer than a bear bulb.

Strobe just like the soft box.

I can place a grid on this as well to
really control the spill, which takes

it from a 65 degree spread

to now a 25 degrees spread.

And so let me show you what that looks
like.

And it simply locks in place

using these little metal clips here.

As I rotate this head, you're going to
see that it's still a soft light,

but instead of spilling everywhere,
it's controlled to lighting up, what's

right in front of it.

Every modifier I've shown you has
worked with the pro photosystem.

But I do have modifiers for my palsy
buff, alien bees.

And one of those modifiers is also a
grid that snaps in place to the seven

inch reflector.

These grids come in varying degrees,
which can take light from a widespread

to a small spread,

unlike the beauty dish.

This is a very hard light,

but by placing a grid in this seven
inch reflector, I can control where the

light Falls on my subject's face, just
like the pro photo line.

I have a multitude of modifiers that
can fit onto the palsy buff alien bees,

such as soft boxes, strip boxes and
octaboxes.

Now that I've talked about the
modifiers I use on my strobes, let's

get into reflectors and diffusion
fabrics.

Here I have a five and one diffusion
panel and a five and one reflector.

The reason why they're five in one,
because they provide five different

ways to both diffuse light and reflect
light as well as cut light.

First up is the silver side of this
reflector.

This provides the strongest form of
reflection.

It's very specular, it's very bright,
and provides a shine on the skin.

As I unzip this, you're going to see
this gold side, and it's very similar

to the silver, but provides gold
highlights rather than silver

highlights.

On the opposite side there's this white
material,

and it's nontranslucent,

meaning that light can't come through
this material, instead of just bounces

a soft white light

the 4th way is black.

And black is a method to cut light, to
flag light and negate any sort of light.

And finally, inside is this diffusion
panel.

It's made of translucent material, the
same sort of material that you can find

on the diffusion of the soft box or the
umbrella.

It cuts about one stop of light and
turns any light source into a nice soft

light.

These are super inexpensive modifiers.

I actually have four of them in my
studio here, and I use them for on

location work all the time.

And because these fold up, very small

looks like this,

it's really handy and can fit right in
your bag.

Now that I've gone through the westcott
five and one reflectors and diffusion panel,

I want to get into these guys.

These are larger diffusion panels,
otherwise known as scrims.

This is a three by six.

And this is a six by six from molasta
light.

So let me get one of these open.

And we're going to set it up and show
you what it looks like.

So as you can see, it's the same
material as the five and one reflector.

And that diffusion panel in the center,

except this is on a metal frame, and
it's a lot more sturdy, while the five

and one reflector that diffusion disk
is great for maybe a headshot or

three quarter.

This is way better for full body.

And then with the six by six, I can
cover a whole set in shade.

I primarily use this on location
outside, but there are times when I use

this and the six by six in the studio.

The reason why I like this particular
model is that this diffusion material

easily snaps to this metal frame, which
makes it very easy to set up and break

down and pack and travel with.

What this metal frame allows me to do
is to clamp it to a cstan using an

avenger grip head.

This allows me to build a temporary
area of shade without the need of assistance.

This skylight rapid kit from last
satellite is going to range about 30600

dollars, depending on the size of the
metal frame.

But it's a tool that's necessary for
onlocation work.

So we're going to put this away, and
I'm going to show you an even bigger

source of diffusion fabric.

When I need an even bigger source of
diffusion, more than my three by six or

six by six can provide, I turn to my
trusty bedsheet here.

That provides a great solution to
cutting sun and covering an area for

shade.

Even though this is just a simple
bedsheet, it acts the same way as the

five and one reflector that diffusion
panel, as well as the skylight rapids,

the three by six and the six by six.

Unfortunately, a bedsheet doesn't come
with a metal frame.

I might attach this sheet to a pipe or
window seal or even a cstan.

Anything that's going to help me spread
this sheet out to cover my set and

shade.

We've talked about diffusion, we've
talked about reflectors.

The next thing we're going to talk
about are flags.

What this is is a black flag it's
eighteen inches by 24 inches.

And it mounts perfectly to a grip arm
that is now mounted onto a c stand.

Let me demonstrate how we use black
flags and black material on our productions.

So you see this hairlight on me right
here.

If we didn't want that light in our
shot, then we could simply introduce a

black flag in this black material to
completely block that light out.

Really, you could use any black
material, any black foam cord, to block

light.

But in this case, having this metal arm
here allows me to attach this to c

stands using grip heads.

And for that reason, alone it's worth
the purchase.

We've talked a lot about c stands and
regular stands, and so I want to

introduce you to a couple of my
favorites.

The first thing I want to show you is a
420 b manned phroto boom.

The best part about this boom is that
it's a combination, meaning that it's a

regular lightstand, and then can be
converted into a boomstand.

So it has a lot of versatility.

It has a lot of options.

Let me show you what I mean by that.

So when I get this right here,

just by unlatching that lever there,

listing this out,

and then flipping the switch, it goes
from a regular stand and then to a

combination boomstand.

The reason this is very useful is
because I'm able to place lights over

my subject's head, and I'm able to have
the light stand out of the shot.

The next style stan I want to introduce
you to is a c stand.

A c stand is a very heavy duty piece of
equipment.

This is designed to be able to hold a
signific amount of weight by these

three legs here, and they spread out
evenly, but also packed down really well.

These legs are really great because it
allows me to weigh them down by placing

sandbags on the top.

Let's talk about an accessory that I
place on all my c stands.

This is a d 50

b, a venger grip kit.

And what this allows me to do is not
only attach lights and place them

overhead of the subject, but it also
allows me to attach flags or to fusion

fabric to the end of this grip head
here, which is super convenient.

These stains are a little heavy and
they are a little expensive.

But if I'm going out in the field for a
big project, this is what I'm going to take.

Now we're going to move on from stands
to stabilization.

In tripods,

the smallest and lightest tripod I
carry is, this it's a three legged

thing.

Frank.

The reason why I love three legged
thing is that they're lightweight,

they're mobile and they're super easy
to travel with because they do pack

down so well.

The next tripod is this benro carbon
fiber tripod with an sate.

I really love this tripod because it's
lightweight, it's perfect for running,

gun, cinematography,

and we use it a lot for our travel
projects.

And finally, this is the benro carbon
fiber monopod.

Instead of handing my assistant a bulky
lightstand.

It's heavy duty.

I like to provide this because it's
super lightweight, and it really allows

us and opens it up to that run and gun
style of photography.

All you have to do is attach a light to
the top, attach a modifier and you're

ready to go.

All right.

So now that I've talked about my
cameras, my lighting, my modifiers, my

stabilization, my diffusion fabrics,
I'm going to talk a little bit about

the odds and ends of what I keep in my
studio.

When we're building sets.

It's important that we have superclamps
onset.

This is a man proto superclamp.

And it allows me to basically attach
anything to anything.

It's very important when you're set
building, or when you're trying to rig

lights or red cameras or

rigged effusion fabrics.

And we keep a lot of these onset.

All you need to do is unclamp this,

clamp it to a surface

and then attach whatever you need to
attach on the other end.

Another really helpful piece of
equipment I have is this manfrotoumbrella

swivel adapter.

And what this allows me to do is place
a light on top, and then swivel that

light to get any sort of direction of
light I want while it's still connected

to a light stand or a boom pole.

I love this particular umbrella adapter
for manfroto, because it's heavy duty.

It's made of metal, and this holds up
better than your other plastic ones.

Every photographer needs a bunch of
this stuff it's a gaffers tape.

This is what we use to secure down
cables, to

rig up certain things, to hold things
in place, hold umbrellas in place.

There's various uses for gaffrostape.

And this is a crucial,

crucial tool to have onset.

Gaffrostape is necessary to secure
anything you need to secure onset.

The reason why I use gaffer's tape is
because it doesn't leave any sort of

residue behind.

And it's also easy to rip.

This is another handy tool that we have
in our grip kit.

It's a simple bungeecord.

It's an elastic strap that we use to
hold down diffusion fabrics, to hold

down c stands or anything that needs to
be secured in strong wins.

Next up, we have radios.

When you're working with a big team,
it's important that you communicate

so for me, I have to communicate with a
stylist, a creative director, hair

makeup and my assistance at the same
time.

So we use these on nearly every set.

These particular radios are from
midland.

I found them in a sporting goods store.

You're super easy to find, and you can
always get them online.

Another crucial element to our set is
this it's a boast color sound link

Bluetooth speaker.

always important to keep the morale up
and the flow, the shoot going.

So music plays a huge role in that.

One thing I like to incorporate is add
an additional mood or

color to my.

Lights are gels.

I'm not going to dive too much into
gels right now, but I will later in

this tutorial.

Another necessity for any studio is
these Matthews apple boxes.

Apple boxes are super handy for
staging, for posing, to sit on.

And sometimes I use these to raise the
height of my model and raise myself as

well.

I have three different sizes of apple
boxes.

I have a quarter, then half and then
full.

And I use these all the time.

My studio.

Another crucial element to my studio
are my backgrounds.

This is a custom made background from
Sarah Oliphant, Sarah oliphants as a

painter and an artist in New York City
that designs backgrounds for

photographers all over the world.

I have multiple sizes of hollifome
backgrounds, and I use them in

conjunction with rolled paper as well.

But I prefer to use canvas over roll
paper.

As you can see.

This one in my hand there's a lot of
texture, there's a lot of nice cool

tones.

I think it just adds a really painterly
look to your imagery.

We will dive into a few more background
options later in the tutorial, but

we'll get to that eventually.

So now that I've gone through all of my
gear, all of my equipment, let me show

you the bags that I use to travel with
and to store all this equipment in.

I've used a lot of bags over the years,
but I'd say the best are think tank

photo.

So what we have here is an airport
accelerator it's a backpack style bag.

Then we have roller bags, which we had
the airport security version 2 point o.

Down below here we have an airport
international, and then finally an

airport airstream.

All these bags are within the airport
line

because think tank photo has done such
a great job with making sure that these

bags fit in the overhead bins and are
great to travel with.

Overall bags aren't really the most
glamorous thing to talk about, but

they've really stood the test of time.

They're dirbled or well made, and
they're my favorite bag I've ever used.

At this stage.

You're probably wondering, how do you
transport all of this equipment?

Well, I use a system from de walt.

Everything that can't fit into my think
tank bags I put into this modular cart.

It's made up of several of these
stackable crates.

I have this, and I have another large
crate in which I place all my stuff in

an organized fashion within this.

And so we're able to break this all
down and break it apart to fit in a car

or a truck.

As you can see, each one of these
compartments locks to the one below it,

and then it's a modular system, so I'm
able to add to it and take away.

And we can break apart each individual
compartment.

For example, this top compartment holds
all of our grip equipment.

So it holds off our clamps.

It holds umbrella adapters, anything
that we need to secure things to a

cstan, etc, etc.

The rest of these compartments are
comprised of sandbags.

And because it is on wheels, it's on a
Dolly system.

Even though it's a lot of weight, it's
easy to transport

along with this modular system, I
haven't, a couple additional toolboxes

that I use to store lighting and sort
of modifiers and soar equipment so that

we can transport it and access it
efficiently.

The final bag I'm going to show you is,
this bag it's a light stand bag, or

it's just made to transport whatever we
had that it has a lot of length to it.

So in our case, it can be light stands.

It can be backgrounds, it could be
modifiers,

anything that has a significant length
that can't fit into an overhead bin.

Another great feature of this bag, just
like my think tank rollers, is that

it's on wheels, it's very easy to
transport through airports or any

location.

And if you've ever had to carry long
items or grip equipment, you're going

to know how crucial it is to have a bag
such as this.

Well that's it.

I know it's been a lot of information,
a lot of equipment to go through, but I

get questions all the time about this
stuff.

So I want to make sure that we go
through it piece by piece and show you

everything that I have in my studio.

If you have any questions or want more
information on the equipment that I

just walk through, make sure you go to
the link below, because I've outlined

all of that stuff on my personal gear
page.