All language subtitles for 12-GripToolsScrimsSilksFlagsAndTape.mp4

And when you do have the location,

when you do have to contend with
certain environmental variables,

here's two of the more common ways to
work with an environment that you

cannot control.

And these are what I'm using

when we are

outside

on location.

In the second chute.

This is a westcott's scrim gem.

And there are different manufacturers

for scrims.

They're probably one of the more common
ones.

This is a six by six

it's, a six bicycle.

They call them silks

scrims.

They have different levels of diffusion

on them.

So you will find half, a stop, quarter
stop, full stop,

different levels of diffusion.

You can also put different fabrics on
the outside.

So sometimes it'll be a white fabric,
sometimes it'll be a silver fabric.

And you can make a reflector or a black
fabric, and you can turn it into a tent.

All different ways you can modify this.

I'm a huge fan of using silks, because
they give you a lot more flexibility in

what the quality of light looks like,

not just as a way to block light, but
as a way to shape the quality of light.

So if you think about a soft box,

and you buy the soft box and it's
preconfigured to have the light mount

at a certain distance back from it, the
light will always be

the same quality.

Within that box, you can modify the
distance of the soft box, or change

baffles, or do all of these different
things that'll help you modify the

light.

But imagine if you could do this,

bring it closer for like, a hazier
look, or really far away for an even

softer look.

What using silks does, or scrims do.

It's not just not just about diffusing
light.

You can change the quality of light

of the source by changing the distance
behind the silk.

So when it's close to the edge of the
silk, it's a little bit of a harder

light.

As it moves further away, it's a softer
light.

Or maybe you can put a modified light
behind the silk.

So you put a soft box behind the silk,
and it makes it even bigger, so it

makes your light softer.

It's a lot of different ways you can
use this.

I'm going to use it in the outside
shoot.

We're going to use a couple of them to
block and shape light.

The other one that's pretty commonly
used.

It's super cool is something called a
sunswater.

Same idea, totally the same concept.

It's portability versus putting
something down.

So with a scrim,

I've got two c stands on each screm
with weights and everything else.

And it's a much larger

system.

It's also going to be in my shot.

Whereas with a sunswater,

you obviously need a dedicated
assistant,

but they're standing off to the side,
like the Casey pole.

It, after blocking the light, they're
out of your shot,

and it's a little bit more mobile.

So just a different way to go about it.

They're both really cool.

I've seen the sunswater as a lot in
action, and they're really, really

cool.

But I tend to use scrims

a lot more often, just because I'm not
moving around as much,

all right.

Now, the other way that we modify the
light,

besides squims,

are using flags.

And I use flags all the time, because
when you're using a scrim, the light's soft

and it's big, but it usually goes
everywhere.

So generally

there are times when you want to block
light

to go in any particular place.

And so you'd use a flag to do that.

You can use a flag either to

block light,

but as you saw in the

demo in the hallway, I also use it as a
way to absorb light.

And so when I brought it in really
close.

It made the shadows darker on the unlit
side of the face.

I mean, obviously it's blocking that,
but

it will also do that.

Flags come in a zillion different sizes.

Some are super tiny,

real tiny, and some are huge.

This is a

small ish

flag.

I wouldn't use this to block the light
from a scrim

necessarily

unless I was really, it was really
close to me.

And you're going to see this in a
couple of the shoots,

but I use this all the time.

Scrirms come in, either, something like
this, where it's

one size, and

it doesn't change, doesn't collapse
down.

These are always a little bit cheaper,

and these are totally fine.

If you have the space to store it, you
can just kind of tuck it behind something.

But if you are looking to save space,
these also become foldable.

And so the frame just basically comes
out, mocks into place, and then

collapses down.

And then you put the fabric on it.

Every time.

If you have the space to put one of
these, you just kind of take it out and

you put it up, versus having to
assemble it, which is always the extra

hassle having to do it.

But it saves you space.

The nice thing about the foldables are,
they usually coming kits.

And so what that'll mean is, you can
see that the nets,

you can see the nets over here, and
that's varying degrees of diffusion.

And so there are,

you know, some will cut light, some
will diffuse light.

They all kind of serve a different
purpose.

The black ones are more about cutting
light.

The white ones will also cut light, but
they're also going to diffuse it.

So just different different approaches.

And they come in varying levels of how
much light they're going to cut.

And with the foldable kits, you can
change that out.

So sometimes

this will regularly happen.

I'm in the studio, I'm shooting.

I've got my big soft light raking
across the screen, raking across the image,

but I've got a foreground object that's
relatively close and it's getting a lot

of light.

So i'll put a net over it to cut some
of the light that's getting to it,

instead of putting up one of these,
where I would block the light totally.

And so there's just different

uses of these

of these kinds of materials.

This is wrapped in a material very
similar to something like a dubutine, so

it's not going to reflect light

at all, it's going to absorb it.

The black v flats, for example, because
it's paper will sometimes reflect a

little bit of light when you bring it
in close.

This will not do that.

And so it's a little bit better

for that effect.

All right.

Now, something that goes along with
flags a little bit

is cinophoil.

And if you don't keep cenophoil in your

kit

or your studio, you really should.

It's basically really high temperature,
kind of like aluminum foil and it's mat.

So it will

absorb light, and you can use it to
shape light.

So think of it like barn Doors.

You can make a snoot or barn Doors out
of it.

And it's really, really heat resistant,

sort of.

It gets really hot.

It just it won't catch on fire.

That's really what I mean to say, it
won't get you on fire.

But it does get insanely hot when it's
right up against the light.

But we used it when I was wrapping the
pro tongstons.

And so that gets really hot around the
bulb, way more than like a regular

modeling light, and that holds up fine.

And so when you want to modify the
light a little bit more irregular,

regularly, and you don't have barn
Doors or a snoot or things like that

to help you out with that.

Senophoil becomes a really

good way to do it.

One of my,

one of my little tips, it tears kind of
easily.

You can also cut it with scissors,

but it tears like aluminum foil,
something like this, right?

So

something that filmmakers use when they
are, we call this augmenting practicals,

when you are dealing with practiles,
let's say you have a lamp,

ok?

And you have a lamp in the back of your
scene, that's relatively close to a wall,

and you turn that lamp on,

and it creates the glow that you want
in your frame,

but it

doesn't stay in

the shade in the area.

It's going up, it's going out behind on
the wall.

And it just looks a little bit sloppy.

So what do you do?

You take this,

and they do it.

They do it a bit with it's commonly
done with, like, beer cans.

And so they kind of turn the beer can
into, they give it like a mullet shape.

So

it goes across the top,

it's high here in the front, and the
back is longer.

And so it more or less looks like this
so it goes around.

And so think of, kind of like,

that makes sense, kind of,

sort of, right?

So

on top of your light bulb,

this

and what that's going to do is it's
going to prevent light from spilling

out the back, and it's going to prevent
light from spilling out the top.

But it makes that light bulb that you
have in your lamp project light

forward, causing the lamp to glow,
giving you the practical effect, but

giving you all the control that you
want from that lamp.

Really easy way to do it.

And you can, like I said, put these
into any shape you want.

And they're really heat resistant, so
you can sit it right on top of a light

bulb.

Gives you total control.

Cool.

Ok.

This is also something that's useful to
have.

I don't have any edies to show you, but
these are called team markers.

And you can give different subjects,
different colors, so that they know

what their mark is going to be.

But it's a little bit better than
taping gaff on the floor.

And so you can just go, here's your
mark,

put your feet

where

the t happens to be, and you're going
to hit the green marker.

You're going to hit the red marker.

And when you're doing motion, it's
helpful.

But sometimes when you just, like
onset, just say,

there you go.

That's just kind of a quick and easy
one.

They're a little bit harder to come by.

Like, you have a special order

from production houses, but, you know,

you can find them.

They're not too expensive.

We've got a question from a line, just
real quick.

Photomakress.

Is there a maker manufacturer
recommended for the net flag option?

I believe

I use westcott.

I believe that's what I have.

I have the kits for the wescott kids,

but, you know, they all kind of serve
the same purpose.

Same with, like, c stands.

Matthews is probably the more common
brand of c stands.

But, you know,

they're fine.

There's a lot of good works out there.

It just a matter.

Ok, they're a little bit more expensive
than irregular light sand.

I think they're around 12130

in that range.

Don't quote me on that too hard, but
it's somewhere in that ball part.

They're a lot more stable, and they're
a lot

like the lesson.

You want to, someone bump it into your
light and knocking it over.

And just peace in mind.

In terms of tape, the two tapes that we
use probably the most

gaffer tape, or gaf Tate and paper.

I lean more to this, but there is a
time and a place

for this.

And these all come in all kinds of
different colors.

But you don't want to use ductape.

You want to use gaf tape, because this
is going to give you less of a sticky

residue when you need to tape stuff.

It's less likely to damage things like
floors.

Although if you've got like, a painted
studio floor, and it's been freshly

painted, which is not uncommon when
you're in studios,

this will sometimes take it up.

So, you know, just

wood floors, it's generally ok.

You can put it on objects.

This has a little bit of a shiny
finish.

Paper tape has less of a shiny finish.

And so I've seen cinematographers do
things like take black paper tape and

put it on the inside of a barn door to
eliminate the sheen when they want to

create a harder point light source.

So I've seen them using for things like
that.

Gaff has just a zillion different
applications.

It is a little bit more susceptible to
heat, but it's pretty heat resistant.

I'll take tape gels onto lights with it.

Or, hey, I've got,

fill in the blank,

I've got to make this mount to this.

And the end of it, where it's mounting
isn't in the shot, but I don't have

anything that's holding it.

Tapes start wrapping around it.

I was helping.

I was helping,

who is in the video helping?

Lindsay,

other, with a shoot the other day, and
we had to configure some really

irregular lights, and it's like, all
right, what do you do?

All right, we're leaning them together.

Let's just tape them together, and,

you know, you make it work.

Gath tape is a really handy thing to
have.

I'll also say,

in addition to things like gaff and
things like clamps,

everyone should have a multi tool.

You should definitely have something
with pliers and a knife, and scissors

and all that kind of stuff in your bag.

You should really, really, really have
that in your bag.

Just don't forget to take it out of
your bag if you are flying with.

And the other thing is just a
flashlight.

Have a flashlight in your bags.

Super useful to keep in there.

We ended up using this in one of the
shots, but it also works as a way, and

say, hey, I'm shooting a dark
situation.

I need someone to help me focus it.

Assistant, hold it on.

Got the focus grape, move it away.

Really useful.

So

always keep like a multi tool and a
flashlight in the bag.