All language subtitles for 10-GripToolsAppleBoxesCStandsAndGripHeads

Let's talk about apple boxes.

This is two sizes.

They come in different finishes.

You can get them worn, you can get them
pretty, pretty fresh and clean looking,

like that.

This is covered in black paint and Gath
tape to be dark,

totally fine.

Generally, what you use these for is
any time you want to raise or lower the height

of anything.

They also are regularly used for seats,
onset.

Because you can just go grab one, tilt
it up, sit on it, or maybe you're

shooting from the ground.

You can turn it over, you can sit on
it.

You want to go a little higher, you
turn it to the side, like you can

create different configurations of
height out of one box here here.

All different kinds of things.

We've got a full, which is obviously
the big one.

The one that is

half the size of the fool, it's called
a half.

Half.

The size of that it's called a quarter.

And the smallest one is called a
pancake.

The pancake is basically just a piece
of wood.

You probably aren't going to see that
too too much in

I don't know hardly any photographers
that have a pancake.

The other ones are a little bit more
common, and they're used for a variety

of situations.

One of the most common ways you would
use different degrees of apple boxes

is when you are putting multiple people
in a frame

and you need to equalize out height.

So let's say you're posing a couple,
and the two happen to have a huge

height difference.

You can use the apple boxes to equalize
them out without having one person

hunch over or slouch down.

A very, very useful way to achieve that.

So, you know, maybe such and such actor
is really short, and the actress is

really tall, and they need to make them
a little bit more equalized.

So they'll use an apple box under one
and equalize the height.

Super common trick for that.

And then, again, just used as

seats

all over the place.

C stands, which I know I mentioned,
already,

are my preferred way to put up lights.

They are, unfortunately, a lot heavier
than a regular lightstand, and they're

more expensive.

But when you are on location,

when you are dealing with things that
are

relatively heavy and go way up in the
air,

it's a safety thing.

And so I don't use a single light sand,
I think, for this entire production.

I don't think there might be one or
two, maybe somewhere, far away.

But anything that really I have to be
careful of is getting a sea stand.

That's because I can, I can weigh it
down

with weight.

I can do a lot more things to it, like,
I can

add boom arms, and I can get the light
way off the stand.

And so this really just is about
creating the most stable platform for

lights that I can.

I will always, always, always

try to use a c stand instead of a light
sand wherever I can.

I know it's a little bit heavier, but
it really is just

it's a lot more sturdy and a lot safer
across the board.

C stands coming a variety of different
configurations.

You can get them in silver.

You can get them in black.

I actually really like the black ones.

Aaa, because I just try to own, despite
my shirt, most things in black.

And

they're a little bit more of a mat
finish, so they don't catch and reflect

light.

If that is ever a consideration, it's
usually not.

But it's nice to

have.

So there's different sizes.

There are different ways that the legs
can collapse.

So this is what

probably a normal cstand leg looks
like.

And you basically have to just apply a
lot of pressure

to close them up and force them.

Clothes and what'll happen is you can
close them all up.

They'll stack really, really nice and

cleanly, if you want to flatten them up
or store them, you can also, if you

have the space, to have many of them,
because the legs are all different

heights, they'll nest really cleanly.

So you put the tall leg right up
against the tall leg, and they'll pack

in a relatively compressed space.

There are also c stands that use

there's like a turtle it's a turtle
lock, as what it's called.

And so basically what you do is you
pull up a latch

on the pin on the legs, and they all
just kind of like, with weight, just

collapse to one thing I prefer, that I
think it's a lot easier to set up and

break down,

but it's just something that you can do.

The main portion will also come out of
the legs.

So know that you can break it down even
further once it's collapsed and broken

apart.

And you can really, you know,

get that.

These also, you can get bigger versions
that have wheels on them and are more

heavy duty.

But for the most part, like, just keep
in mind that this is going to be a lot

more of a stable way to go.

Now sitting on top of this is the arm
and the grip head, or the knuckle.

So

this is generally going to give us a
whole lot more flexibility on what the

light is doing here.

So when it comes to getting the light

push away from the stand, or in the
shot, from

somewhere else, I'm going to use
something like this, which is an arm

which gives me a little bit of

distance off the light, so it gives me
a whole extra element of

distance.

Or I'm going to use an avenger stand.

It's called an avenger to boom arm

there's also a cambo, which is a really
big weighted stand that I use at home

when I really need distance.

So there are all different kinds of
solutions

for

how you should be setting these up.

Now,

when you are using,

when you're using an arm like this,
when you're using an avenger stand,

there are a few safety precautions you
are really going to want to take note

of.

So remember, when something gets really
high and

really off,

plane of

the vertical it's really likely to tip
over.

And if you are inside,

you're obviously less susceptible to
certain things.

When you are outside,

wind can catch it and scare scare the
crap out of you when it starts to move

a little bit, I've had huge, huge
panels and lights catch wind and cause

tons of problems,

not me personally, but when you're
setting stuff up, and it's something

you have to be really, really careful
of.

So in one of the shoots, we had these
kind of

way hung out

over the mezanine and put the light and
everything else.

So we have to be very careful

when we are setting this up.

And one of the ways we do that

is making sure whatever is extended

goes over.

It lines up with the tall leg of the c
stand.

And so when it's

kind of in between the legs, it's more
likely to tip.

But when gravity has to fight the
tallest leg, it makes it the most

difficult.

So that's one of the key things to
setting up something with an arm on it.

The other thing is, you want to make
sure

that when the arm is tightened,

so you want it to tighten

in the way that the pressure

pushes on the arm.

So what that basically means is the
more weight that goes on the arm,

the tighter it's going to be.

Because if you go the opposite way,
it's kind of like someone gradually

just pulling on it.

And the more you pull on it, the more
it's going to loosen, and eventually

your light's going to fall.

So you want to make sure that the arm
goes in the direction of the way that

you tighten it.

So I'm twisting it let's, see, I'm
twisting it this way, it's here.

And so the more pressure I put on it,
the more it locks into place.

Whereas if I go the opposite way,

you're more likely to loosen it and
it'll fall.

Another thing that you can do is

you can counterweight

one side of it to help keep it balance.

And i'll talk more about sandbags in
just a minute.

When you are raising and lowering sea
stands,

good practice is to raise from the
highest rung first,

which seems kind of silly,

but you want to raise the top one
first, so that if you need more height,

and maybe you're at the very end of it,
it's already right here.

Versus,

let me raise from the bottom.

Get it all the way up in the unit.

Like, I need more height.

And you're like,

it's a little bit awkward.

So raised from the top first, and then
work your way down.

This is a very heavy duty

situation,

you can get away with it.

I know if the light stands if you're
raising from the top one, and you got

something heavy on it, like, sometimes
it'll bow a little bit.

And it's just, you know,

you're a little bit more able to do it
with this.

Now, what is kind of connecting these
arms?

One is already mounted to one end, and
then one is allowing it to be mounted

to the sea sand.

This is sort of a grip head or a
knuckle.

And that's this right here, or this
right here.

And this allows you to connect

a zillion different things.

So basically feeds into the hole that
closely fits it,

you lock it down,

and you have the arm.

You can put stuff on any one of these
ends.

There are many different holes that
allow you to mount a lot of different

things.

You'll notice many of the things that
we have have different size

holes in them.

So, like a flag, for example, which I'm
going to talk about in a little bit,

tiny, tiny metal piece that mounts it.

Use the small hole.

The quacker, for example.

This uses something called a baby pin.

Baby pin

fits here.

Get it, tighten it down.

And you come over,

probably want to put that in first, but

so you can get a variety of different

positions.

That it's like, all right, well,

it's here, ok, that's not what I want?

What do you want?

You want to make it higher, you rotate
it up.

Here

I've got, I got a locked in gripid.

Well, that one's kind of kind of locked
into place.

Break it down,

you know,

a lot of different ways you can move
it.

This grip head just happens to be a
little bit frozen.

But you get the idea, this will
normally rotate.

And you can rotate from all different
kinds of axes to get whatever side you

want, where you want it, floating,
whatever the case may be,