BLOG QUESTION ADV: STANDS

What is the difference between a low boy and a combo stand? What about a mombo combo stand? What are each of these stands used for according to the presenter?

A low boy are small combo stands. They can go up to over 6 ft, and as low as 3. It can come with a female junior pin and a baby pin allowing you to attach lights. They're helpful for slider and dana dolly set ups as they're more steady at a shorter height. A combo stand is taller and can go much higher than a low boy (usualy up to 14 ft.). It can handle up to 68 pounds. It comes with the same receiver and baby pin to allow you to attach lights. A mombo combo stand is an even larger combo stand, and it's able to go up to 22 ft. It comes with a female junior pin receiver and a 5 1/2 in. grip head (helpful for setting up a butterfly or overhead frame). It comes with a disk called a guy-ring, which allows you to secure the stand with guy rope on windy days. It can hold up to 88 pounds. You can raise the risers by stepping onto the spreader of the stand if safe to do so.

BLOG QUESTION ADV: CUCOLORIS, NETS AND SOLIDS

What are the differences between a Cucoloris, a net, and a solid? What are 2 different uses for them on set? If you had to ask someone to go grab a net or a flag out of the cart, how would you describe the difference to them?

 A cookie is used to add shadowed shapes to your background/subject, adding more interest to your image. They can come in cello screen, wooden, and other materials depending on how harsh you want your shadow nets are used to cut down light on an image, coming in different stops. They come in different colors to help you differentiate them. They soften shadows when using hard lights. Solids/flags come in different sizes/shapes and they're made of a material called duvetyne. They're identified by the size they are. There are different ways to set up a flag (Topper, bottomer, sider), which cover a portion of the light beam. If I was asking someone to grab a net, I'd explain the size, the color of the border, and I'd say that the fabric covering it should almost be sheer. If I were describing a flag, I'd say the size and tell them that the fabric should be completely black.

BLOG QUESTION ADV: CLAMPS

What are the differences between a cardellini and mafer clamp? What are 2 different uses for them on set? If you had to ask someone to go grab a cardellini clamp out of a box, how would you describe it to them?

The mafer clap is used to clamp around rounder objects (poles, light stands). Some of them come with pins such as a baby pin which allow you to attach all kinds of things that take baby pins (e.g. lights). The larger knob on a mafer clamp tightens the clamp around whatever you're attaching it to, while the smaller knob tightens the pin. Cardellinis are more square shaped and can be used to mount things such as lights, boom poles, or a bounce board. They can be tightened with a knob that can be screwed up/down, to lengthen the size of the clamp. Unlike a mafer clamp, a cardellini can close all the way around an object. I would describe a cardellini as a clamp with a flat duck-beak shape, that comes with a drill-like knob.

BLOG QUESTION ADV: LENS FILTERS

1. What is a soft filter? What does it do to your image?

2. What do polarizers do? What does it do to your image?
3. What are neutral density filters? How are graduated filters different?

A soft filter is a filter that soften your image by adding a slight blur to it. It gives the image a dream-like look, and comes in 1/2, 1/4, and 1/8 incriments. Polarizers are used to eliminate glare and reflections on surfaces like glass and water. They deepen the colors of skies and the grass because they take off the reflection on them. ND filters are used to control the amount of light coming into your image. They can be used to control the exposure when you're filming in a bright place. Graduated filters are different as the ND is only on one half of the filter pane, ideal when trying to film an image such as a sky, when you don't want to darken the exposure of the whole image.

BLOG QUESTION ADV: GRIP VS. ELECTRICAL DEPT.

What are 3 key differences between the grip and electrical department on set? What is one thing from this video that adds to your understanding of what the grip department does?

The electrical department handles lights and anything that needs power (bates cables, distro boxes, camlocks, generators.). A grip controls the light using things like c-stands, gels, diffusion. They also help the camera with movement like dollying. The Key grip and gaffer (electrical department) communicate with the DoP. The Gaffer relays the lighting math to the best boy who communicate to the lighting technicians on what to set up. The grip department is similar in structure, but they're using different tools. The best boy's on both departments also have a lot of paperwork to do. 

BLOG QUESTION ADV: WHAT A KEY GRIP GRIP DOES ON SET

What are the key responsibilities of a Key Grip on set? How do they interact with the camera and lighting team?

The Key Grip is the head of the Grip department. Their role is pretty broad but important, as they are responsible for planning, supervising, and giving out instructions to their department, all while collaborating with the creative crew members to practically execute their visions. They are in charge of technically planning how a certain camera movement is going to be done, with the director and cinematographers' wants in mind. They have to construct and/or operate different rigs (e.g. a dolly or tripod) for the camera to be placed on. Depending on the country they work in, they could also be in charge of setting up lighting equipment setups. They are also responsible for ensuring the safety of people on set, as well as making sure there are no injuries or damages to sets, gear, or locations. They are mainly involved during the Pre-Production and Production parts of a film, having to coordinate with the Dp beforehand to plan what equipment and setups will be needed to get the shots they want. Once they arrive on set, they should have a schedule of what is being shot and should know what needs to be set up according to what the first shot is.

BLOG QUESTION ADV: BLACKWRAP

1. What is blackwrap? What does it do?

2. What are 4 crafty ways you can use it on set that are mentioned in this video?

Blackwrap is essentially a type of aluminum foil with a matte black finish. It's reusable and is used to block light, similar to a flag. Thanks to its heat resistance, it can be wrapped around a light or camera to prevent spill/lens flare. It can also be used similar to a cookie and it can be added onto a light fixture to shape light (AKA a snoot). It can also be used as a form of weatherproofing (Not to be mistaken for waterproof), when used outside.

BLOG QUESTION ADV: GRIPS ON THE GRIP DEPARTMENT

What are three key things you've learned by learning a bit more about the grip department?

Three key things that I learned from these videos include: Grips have to be very adaptable and good problem solvers. To be a grip, you need extensive knowledge on the tools that are required on film set. Not only that, but you need to know how to utilize those tools depending on the situation you need them for. There's no set way to do something, so knowing what options are at your disposal will help you save a lot of time on set. I also learned that the grip department communicates heavily with the Director of Photography to coordinate the technicalities of different shots (what needs to be set up). They're also responsible for the safety on set and making sure everything is set up correctly.

BLOG QUESTION ADV: BASIC GRIP GEAR

Your gaffer has tasked you with packing up a grip package for your current film noir shoot. Create a comprehensive list of all of the gear that you would need for your grip package. Be detailed! Use the jargon and terminology that you have learned so far. You should easily have over 10-20 items.

- Baby Pin + Floor mount: This will allow you to set up lights closer to the ground

- Power strip: Allows you to have extra outlets to plug your lights in/

- Light Dimmer: Useful if your light can be dimmed with one of these.

- Different clamps: Pony clamps, C47's, helps hold diffusion, curtains, clothing, gels, etc. 

- Black Wrap: Helps block spill from lights, can be used to waterproof fixtures that are outside, as a heat shield.

- Stingers: Allows you to move your lights flexibly

- Gobo Head: Used for C-stands/Gobo Arms, can hold different shafts which are used for gaffing.

- Mafer Clamps: Can be attached to lighting or c-stands, can come with a baby pin allowing you to hand fixtures or gobo heads.

Other items you can bring that the speaker doesn't discuss in the video include: Gaf tape, tri-taps, reflectors, diffusers, cookies, gels. If you're light also takes batteries, bringing batteries that match with it (NPF, V-mounts) can help you in case there's no power source to connect to. 

BLOG QUESTION ADV: USING FLAGS ON SET

1. What is the purpose of flags? How can they be used to shape light?

2. What are cookies? How do they affect the image?
3. How can you combine these instruments to shape your light?

Flags are used to cut off any spill from lights, either in your environment or on your subject. They can also be used as a negative fill to cut some light that is bouncing onto a subject's face. They can be used to shape light by bringing more contrast to your image. Cookies are boards that are shaped in certain ways to give shadows a more interesting shape. Common kinds of cookies include a "window shutter" or "tree branch". They affect an image by breaking up the light. You can combine these instruments to create a more interesting shot, and to bring more attention to your subject/backgrounds.

BLOG QUESTION ADV: OUTDOOR LIGHTING

What are the four techniques you have available to you when trying to improve your lighting at noon? How do each of these four techniques affect your image?

The four techniques that you have available when lighting at noon are to reflect a light, diffuse it, supplement it, or to control the location you're shooting in (But usually, a combination of all of these 4 are required). You can reflect the sun using reflectors, whiteboards, or the location itself. By redirecting the light to a better angle, you can reduce the contrast on your subject's face. You can bounce light onto the other side of your subject to reduce the harshness of any shadows. Even a reflective or bright wall/ground can help redirect this light. You can also set up a diffuser above your subject to soften the light hitting them. A downside to this is that you have to change your iris to properly expose your subject, which might cause your background to become overexposed. You can combine these tools to prevent you from having to change the iris by adding a bit more light to your subject. The best solution to prevent you from having too many setups is to choose a location that will prevent this from being a problem, a place where both the background and subject are being shaded allows for more lighting flexibility.