All language subtitles for 16-GripToolsQAndA.mp4

We got a couple questions about
tripods, some about, like, what brand

tripod.

But I think overall, what do you look
for in a tripod?

I have man photo tripods and heads.

I years ago, bought a heavy duty

version of the tripod.

And

I was on a flight a couple years ago,
and they lost the bag, and then they

ran over it with a truck,

and it was, oh, legit ran over with the
truck, and it was pretty holy damaged.

And so I took the opportunity to buy a
new drypod.

And I bought a lighter version, the
carbon fiber,

only because

this head is already pretty heavy.

I think I think my tripod weighs about
as much as this head.

And when I travel, a head comes off the
tripod.

Tripod goes in the suitcase.

This stays with me, this is more expere
expensive than the legs.

So

this is what I take care of.

And fortunately, when I was traveling,
when they ran over my other tripod, I

had this with me.

So just keep that in mind.

But

when I'm plunked down with a camera,
and I have this, and sometimes I've

even got a ring flash mounted on the
light, which

adds a whole other element of bulk.

And weight it's just heavy.

I have to kind of move it around.

It's just all about

maximizing efficiency for weight.

And so the carbon virus saves a couple
pounds, and I think it's really, especially

nice to have.

And unless

a baggage truck is going to run over it
or you're going to throw it out of,

like, a three story window, you
generally can buy a nice one in the

last for a really long time.

So that's my preference,

there's all kinds of different

mounts that different people, like some
people, prefer this lower, more methodical,

more architectural ones are the ones
that screw and move.

And

oh good, there's also ones that have
like a grip handle on it, which kind of

works the same way to this.

It's just totally a matter of personal
preference.

Whatever you're most comfortable with,

marjorie asks, I use soft foxes for
lighting portraits, but have some

problems with glare on my backdrops.

Could you explain how you might use
blackfell core, some other type of flag

to reduce glare on the background when
you're shooting?

So I think what you may say is just
light spill, like spill on the

background.

So let's say I've got

this light

kind of sort of maybe angle it a little
bit more this way,

at my subject, and it's lighting me in
this particular case.

But you don't want it on the background.

So you take the flag,

and you can either

feather it,

so it's just almost to your subject, or
you can bring it a little bit off, and

you can see how I'm making a shadow
there, a little bit on the wall.

And you can use it as a way to block
that fill kind of out of the way.

And so think of it almost like barn
Doors, but they're off the light.

So you can change

what that modification looks like.

And when the flags are closer to the
light,

the flag is

bigger,

like in terms of the light source.

But when it's closer or further away,
it becomes smaller.

And so you can kind of see it

where this makes it really big, but as
I move it closer, it becomes

smaller.

So just it's a relativity thing.

I notice that your black premise

screw onto the camera lens itself, and
then your other system slides in.

Can you talk about the advantages of
that, is that you're yettire?

And can you get a black premise that
slides?

In short.

So this particular system.

The reason why I like

this particular system is I think

a it's just really pretty, but too,

it has the best optical quality that I
found for

Nd filters.

The thing, the thing about nds is,
they're susceptible to vignetting

around the edge.

They're susceptible to loss of image
quality.

And they're also suspected with a
colorcast.

And so I basically set out, and I said,
what's the

way I can do an endy without sacrificing

visual fidelity, like that was my goal.

And so I found this.

And so that's why I like the system.

They sell

nds.

They have a built in polarizer,

I think they maybe have one more, but
they don't have that whole range of

every possible

filter that you can ever get.

But they do have a holder.

And a lot of times like, you can buy
that because that's a standard size,

it's 100 millimeter size.

And so you can buy different filters
for the system, even if they don't make it.

I don't 100 percent know

if they do a black promist

in a slide filter.

I don't 100 percent know if they do or
not.

But

the slide ones are always a lot more
expensive.

And I had bought this first

and so

this is about 6070 Bucks.

And then I didn't have this system

when I bought this.

So that's why, but because it's the
same filter amount, like this, screws

onto the lens first, and then they're
all screwed within a screw.

So this screws on the end of that.

If I want to

use it that way.

Michael from online is asking about
variable neutral events.

So that's a very good question.

Variable Nd filters are

great for this.

They give you a lot more flexibility,
you have to carry way less stuff,

but they are a lot more expensive by
comparison,

especially when you start getting into
the ones that have the best image

quality.

So you can buy a relatively inexpensive
Nd filter, that'll give you a few stop

variability, like go to three to a six.

Those are maybe seventy or eighty
Bucks.

They're really susceptible,

sometimes,

depending upon the brain you get,
they're susceptible to

colorcasts and really bad vignetting.

The more expensive ones

there's a huge jump.

Like the cheap ones are 7080 Bucks.

The expensive ones are like over 400.

Those are the ones where you start
getting into much better image quality.

And so it just becomes a matter of
cost.

And how important that image quality is
to you.

Because if you're doing this every once
in a while, and maybe you need just a

way to achieve it, without worrying too
much about loss of quality, yeah, sure,

go for the cheaper one.

But if you are really trying to

pick the best possible quality version
of this, you can, you're going to have

to sink a little bit more money into it.

Just speaking.

As many

a beginning.

Will it be essential

for grip?

Ok.

So these really important, you can buy
packs of these.

Home depot, like you could buy these.

They're not expensive.

You should absolutely have

Gath tape.

This.

I went many years without using, but I
do think they're super useful.

Senophoil.

You should absolutely have.

These are the things that are like, the
most versatile senophoil.

You could do a lot with.

Miscellaneous clamps you can do a lot
with for location.

I think this is a great, great thing to
have for how cheap it is.

I mean, you can't, say, at 4050 Bucks,
you can put one of these together.

Well, you start getting into the other
specialty filters, like, I think the

end is really useful.

You don't need it.

But I think it's helpful.

Sandbags are one of those things that I
didn't talk about, but

also supremely important.

Weight safety

sandbags are also the heaviest when
they are on the tallest leg, because as

soon as you put them on the bottom leg,
and half of them are touching the

ground, they become a lot lighter.

But when they're suspended in the air,
on the heaviest leg,

they are

the heaviest.

And sandbags also come in different
sizes.

So, like this here is meant to be a
counterweight on an arm.

So, you know, you'd hang this off the
edge to balance, the light that's

sticking way far off.

And so

those are really important.

And again, you can buy, basically the
empty bag, you can buy, and then you go

filled it up with dirt or rocks

or something.

And pretty pretty inexpensive.

You know, light sancy stands are
important.

I think getting some flags is really
important for control.

But again,

you don't need it.

Foam core is great.

You can go to the art store and get a
small version of that, and it's a few

dollars, and it's very, very effective.

So that would probably be my go to.

Is just things that are the most
versatile.

And so I think things like tape and

tape and sinofoil, and some basic clamps

some standard ways that you can block
and manipulate light

are going to really open up

your ability to shape light, either on
location or in studio.

Yes.

And he touched on this a little bit.

But with the advent of high speed sync
on some of the stroves,

do you see that changing,

new use of filters in the future?

So

I don't have high speed sync with the
system that I use.

So based on the camera and based on the
photosystem, I don't have it.

So it's not even an option for me.

But I found that in the past, it never
really hindered me, because

I was able to get around it using the
same technique with the ndash.

A high speed sync system is great, but
it's not necessarily the most cost

efficient way to achieve maybe that
exact same result.

And so

what it has enabled me to do is

avoid an issue that other people go,
haw.

I once a high speed saying, I'm like,
well, what do you want it for?

I want shouted up the field.

Great.

Well, this also works as a solution.

It's the end, i'll be all because high
speeds.

Skyk also has the ability to freeze
motion.

But if you are looking to freeze
motion, it's great.

If you are looking to just shoot with
more shallow depth, the field.

This is also another option for you.

It's a different way to go about it.

It also gives you the ability to create
light if you are working completely continuously.

So if I'm not using strobes at all, and
I'm just using continuous light, if I

am shooting this way,

I can

more easily transition into motion.

And so there are definitely times where
I've done a still shoot, but there's

also been a motion component.

And so it transitions

really easily to motion.

And so all I have to do,

and this is how I've done it in the
past, all right, my key light is a

stroke, which is freezing motion.

Great.

No problem.

I get the still images.

All right, now we're going to do a
video component.

Great.

Change that out to a continuous light.

And then you're shooting at this 160th
of a second.

So it makes zero difference.

And you can get, you can get video that
matches, you're still

perfectly.

And so I think it's a much more
versatile way to go about it if you are incorporating

a video element into the shoot as well.

So like, I, basically I did this, and I
took my phone out, and I just started

kind of like messing around with it,
and it looks just like it.

And so it's just a matter of,

you know, how much future flexibility
do you want in the material?

How do you transplant?

I love you again.

Ok, so

there are different

circumstances depending upon where you
happen to be.

So

in certain places

you can get away with, if you can
travel minimally,

you can throw it in the back of, like,
an suv.

And so I live in New York.

I don't own a car

Uber Uber suv.

And you can fit a lot in an Uber s v.

They're not always the happiest when
you show up with a lot of star,

but you tip them a little bit extra, and

you get along, get along with it.

But it really depends on that.

So I try to make everything as, which
is why you make the lighter tripod.

You do stuff like this, you can travel
lighter if you need to.

And so I'm a big believer in trying to
make it as compact as you can.

Like, I've got

a snowboard bag, i'll throw in a pole,
a background,

a modifier, and then I've got maybe two
rolly suitcases with camera gear.

And I can actually go to a location and
I can fit it all in a regular car

on the other end of the spectrum.

Let's say, you're doing a multi, huge,
huge production.

You are commonly renting vans, like
actual cargo vans.

And then you have to deal with the
whole logistics of frayed elevators and

freight entrances

and all of that kind of fun stuff.

Because you can't usually just walk
into the front door with a lot of these things.

But I think for

both of these shoots, we were,

I'm going to guess and say, two cars
full of gear, is that right?

Two cars full of gear,

not counting like my camera bag.

And so, like, just

production gear.

And I do bring more stuff

then I intend to use, just to play safe.

But on bigger production stuff, if
you're shooting somewhere else, you can regularly

it's at a production cost.

So

it's the client's responsibility to
handle it.

You just have to

logistically figure out how to make it
work.

And there are people,

god love em, called producers,

handle this kind of stuff.

So I don't have to, if I can help it.

And you just say, hey, all right, we
have to logistically figure out how to

get all this stuff from one place to
the other.

Good luck.

And

they're doing they're doing,

they're doing the work.

So

it just

helps alleviate that a little bit.

When you have to do it yourself, it
tends to be a little bit more of

a high stress

thing.

But, you know, I've done both, and, you
know,

producers are not cheap.

So, you know, when you get them, you've
got to be,

you know,

you're lucky to have

Kelly asked.

Can someone please explain?

And I'm assuming she means you

when to use blue filters.

I've used CTOs many times, but I'm
stumped by the ctb opposite of when

you're matching a strobe, tongues

and light.

When you want to make a tongston light
look like natural daylight

that's usually the, probably the more
and more common ways to do it.

Ok?

So it's opposite end it's usually
making tongues and look closer to

daylight, or closer to strokes.