WEBVTT 1 00:00:07.791 --> 00:00:09.916 Hey everybody and welcome to Mixing Light. 2 00:00:10.666 --> 00:00:13.833 I'm Rich Roddman and I'm going to have a 3 00:00:13.833 --> 00:00:15.416 conversation with a gaffer. 4 00:00:16.291 --> 00:00:18.291 Those of you who don't know what a gaffer is, 5 00:00:18.625 --> 00:00:19.666 he's the person who basically 6 00:00:19.666 --> 00:00:21.333 controls all the light on set. 7 00:00:22.625 --> 00:00:25.625 So I'd like to introduce you to Rick Kalivoda, 8 00:00:25.916 --> 00:00:28.500 who's the owner of First Unit Production Services, 9 00:00:28.791 --> 00:00:31.791 owns a grip companies in Tampa Bay and Orlando 10 00:00:31.791 --> 00:00:32.916 throughout central Florida. 11 00:00:33.791 --> 00:00:34.958 They've been in business since 12 00:00:34.958 --> 00:00:38.583 1989 and had numerous feature films, 13 00:00:39.083 --> 00:00:41.083 TV shows and I don't know how 14 00:00:41.083 --> 00:00:42.291 many Super Bowl commercials. 15 00:00:42.750 --> 00:00:47.041 So, so Rick, we're talking to a bunch of people who 16 00:00:48.583 --> 00:00:51.500 probably have never set foot on a set before. 17 00:00:51.500 --> 00:00:54.708 So can you answer one of the basic questions as is, 18 00:00:54.708 --> 00:00:56.000 what is a gaffer? 19 00:00:56.708 --> 00:01:00.416 Thanks for having me first really appreciate 20 00:01:00.416 --> 00:01:02.458 been looking forward to this. We've been talking about this 21 00:01:02.458 --> 00:01:05.833 For a little bit of time now. So I'm kind of excited. 22 00:01:06.958 --> 00:01:09.541 A gaffer? Well, it's pretty 23 00:01:09.541 --> 00:01:12.458 simple and in a way that we're just, 24 00:01:13.750 --> 00:01:15.000 we're responsible for the 25 00:01:15.000 --> 00:01:16.375 lighting on the set, the electricity, 26 00:01:16.750 --> 00:01:18.791 the safety about the electricity side. 27 00:01:19.583 --> 00:01:20.958 But what's more important, 28 00:01:20.958 --> 00:01:22.291 I think for the DP standard 29 00:01:22.291 --> 00:01:27.083 and for what this podcast is about is the lighting, 30 00:01:27.500 --> 00:01:30.125 the type of lighting we do, the 31 00:01:30.125 --> 00:01:31.875 feel that we give to the lighting, 32 00:01:32.375 --> 00:01:33.458 you know, it's a little bit 33 00:01:33.458 --> 00:01:36.125 more than just setting up a light 34 00:01:36.208 --> 00:01:37.166 and turning it on and 35 00:01:37.166 --> 00:01:38.708 getting the right exposure from it. 36 00:01:38.708 --> 00:01:39.875 You know, the position is 37 00:01:39.875 --> 00:01:41.708 extremely important to time of day, 38 00:01:41.708 --> 00:01:43.125 putting a mood or feeling, 39 00:01:43.833 --> 00:01:45.625 you know, I've talked to DPs 40 00:01:45.625 --> 00:01:47.916 and we'll be discussing what do you like, you know, 41 00:01:47.916 --> 00:01:50.500 for doing like a morning kind 42 00:01:50.500 --> 00:01:53.875 of commercial scene and you know, 43 00:01:53.875 --> 00:01:55.166 do you like it like a grape nuts 44 00:01:55.166 --> 00:01:57.208 commercial or like a Cornflakes commercial? 45 00:01:57.458 --> 00:01:58.541 One's a little bit more warm 46 00:01:58.541 --> 00:02:00.291 and fuzzier than the other one 47 00:02:00.291 --> 00:02:01.666 and there's a difference between 48 00:02:01.666 --> 00:02:02.750 the two and the looks, you know, 49 00:02:02.791 --> 00:02:04.333 so that's kind of what we do. 50 00:02:04.750 --> 00:02:08.416 We help collaborate with the Director of photography 51 00:02:08.416 --> 00:02:10.958 to try to take some of that responsibility off his 52 00:02:10.958 --> 00:02:13.458 shoulders So he can concentrate on what he does 53 00:02:13.458 --> 00:02:15.083 with everybody else. 54 00:02:15.458 --> 00:02:17.541 Years ago, you and I were at a Publix's 55 00:02:17.541 --> 00:02:20.791 commercial together and we were shooting in 56 00:02:20.791 --> 00:02:24.041 the store and I don't remember if they had 57 00:02:24.041 --> 00:02:27.375 florescent lighting or sodium vapor lighting 58 00:02:27.375 --> 00:02:30.291 or that but the director or the DP made the 59 00:02:30.291 --> 00:02:32.791 decision that they wanted to go with that 60 00:02:32.875 --> 00:02:34.000 lighting in there. 61 00:02:34.041 --> 00:02:35.208 Usually we shut off all the lights 62 00:02:35.208 --> 00:02:36.958 and create our own light. 63 00:02:38.000 --> 00:02:41.500 I saw you take out a tool and start measuring the 64 00:02:41.500 --> 00:02:44.541 natural light, not the natural light but 65 00:02:44.541 --> 00:02:48.166 the light coming from the ceiling and then you had 66 00:02:48.166 --> 00:02:50.666 your guys skin some 4x4s with the 67 00:02:50.750 --> 00:02:54.250 proper side of gel just to offset what was elements 68 00:02:54.250 --> 00:02:56.041 were missing from the lighting that 69 00:02:56.041 --> 00:02:56.875 was already provided. 70 00:02:57.875 --> 00:02:59.458 Could you explain what tools were 71 00:02:59.458 --> 00:03:00.666 you using and what was that process? 72 00:03:02.166 --> 00:03:04.000 Back then I was just using a basic light meter, it 73 00:03:04.000 --> 00:03:05.458 wasn't even a spectral light meter 74 00:03:05.458 --> 00:03:08.583 that we're using now with full spectrums that it 75 00:03:08.583 --> 00:03:13.000 shows us and gives us CRI and all the other 76 00:03:13.000 --> 00:03:16.541 measurements but the lights were mixed metal halite 77 00:03:16.541 --> 00:03:18.333 and I do remember that because we did 78 00:03:18.333 --> 00:03:21.250 a bunch of jobs with Publix that ranged from doing 79 00:03:21.250 --> 00:03:23.541 florescent in-store lighting to the 80 00:03:23.541 --> 00:03:26.208 mixed metal halite but they were green and they 81 00:03:26.208 --> 00:03:27.583 were daylight and actually they were 82 00:03:27.750 --> 00:03:31.625 a little bit cooler than regular daylight ranging 83 00:03:31.625 --> 00:03:33.625 in the 6000 degree range. 84 00:03:34.083 --> 00:03:37.333 So we had to add green to all our 85 00:03:37.333 --> 00:03:39.916 lights just to balance with those. 86 00:03:40.875 --> 00:03:45.666 I think the conversation we had was how much green 87 00:03:45.666 --> 00:03:47.458 do you add to the lights? 88 00:03:47.750 --> 00:03:51.791 Do you match exactly what the florescence or the 89 00:03:51.791 --> 00:03:53.333 mixed metal halite is giving? 90 00:03:54.041 --> 00:03:56.708 What I always questioned and would have a 91 00:03:56.708 --> 00:03:59.375 conversation with the DP is can we cheat 92 00:03:59.375 --> 00:04:02.500 and not do as much green so we're leaving a little 93 00:04:02.500 --> 00:04:05.583 bit more red in the spectrum for 94 00:04:05.583 --> 00:04:07.208 the skin tones and not just 95 00:04:07.208 --> 00:04:09.166 completely pulling that out. 96 00:04:10.041 --> 00:04:14.250 Now I think you remember a commercial that I didn't 97 00:04:14.250 --> 00:04:16.333 do but we had a conversation with. 98 00:04:17.250 --> 00:04:19.375 There was another gaffer and they were doing a, it 99 00:04:19.375 --> 00:04:23.250 was for an eyeglass, I don't even remember 100 00:04:23.333 --> 00:04:26.166 the name of it, it was for eyeglasses and he went 101 00:04:26.166 --> 00:04:28.916 in and this is kind of in the beginning 102 00:04:28.916 --> 00:04:31.333 of LED lighting and the lights he 103 00:04:31.333 --> 00:04:35.000 wanted to use were extremely green. 104 00:04:36.583 --> 00:04:39.833 The manufacturer actually sent out a minus green 105 00:04:39.833 --> 00:04:41.083 filter to put on the lights because 106 00:04:41.083 --> 00:04:42.666 they were so green but it was a 107 00:04:42.666 --> 00:04:47.000 power thing to him to use those lights. 108 00:04:49.291 --> 00:04:51.166 fluorescent lights coming in, it was flourescent lights 109 00:04:51.166 --> 00:04:53.291 in the room, he's using green lights 110 00:04:53.291 --> 00:04:54.541 but he didn't correct for the 111 00:04:54.541 --> 00:04:56.083 daylight that was coming in the room. 112 00:04:57.333 --> 00:05:00.500 I remember I did a follow up phone call with you 113 00:05:00.500 --> 00:05:02.916 after that because I was talking with 114 00:05:02.916 --> 00:05:06.250 the gaffer beforehand that he should be using HMIs 115 00:05:06.250 --> 00:05:10.666 instead of these LEDs just for the color 116 00:05:10.666 --> 00:05:12.208 rendering of the set. 117 00:05:13.291 --> 00:05:15.083 I remember I did a follow up with you and you were 118 00:05:15.083 --> 00:05:16.500 telling me what a nightmare you couldn't 119 00:05:16.583 --> 00:05:19.541 get the skin tones right and all of that because 120 00:05:19.541 --> 00:05:21.125 you had all these different greens 121 00:05:21.250 --> 00:05:23.541 and the choices that we make in 122 00:05:23.541 --> 00:05:25.166 that stuff is extremely important. 123 00:05:25.541 --> 00:05:27.416 People just don't take it for granted. 124 00:05:29.083 --> 00:05:31.625 You had mentioned using the 125 00:05:31.625 --> 00:05:36.166 CRI now and there's also the SIS. 126 00:05:36.666 --> 00:05:37.375 The interesting thing I want 127 00:05:37.375 --> 00:05:39.208 to mention is that the SIS. 128 00:05:40.041 --> 00:05:40.916 It's SSI. 129 00:05:41.041 --> 00:05:41.500 It's action. 130 00:05:42.166 --> 00:05:44.083 Sorry, you're correct, SSI, my apologies. 131 00:05:45.000 --> 00:05:46.041 I always get that backwards. 132 00:05:46.541 --> 00:05:51.625 The SSI test is actually put together by the 133 00:05:51.625 --> 00:05:54.791 Academy which is the same people who do the 134 00:05:54.791 --> 00:05:57.541 color space of ACES and that's 135 00:05:57.541 --> 00:06:00.250 becoming a more standard test. 136 00:06:01.041 --> 00:06:02.791 Can you tell us the difference between the two? 137 00:06:04.041 --> 00:06:07.583 The way I understand it and I'm not like a huge 138 00:06:07.583 --> 00:06:10.875 like technically a light technician or 139 00:06:10.875 --> 00:06:14.416 scientist but CRI is a color rendering index. 140 00:06:15.000 --> 00:06:19.416 We've used that for I used it for decades just to 141 00:06:19.416 --> 00:06:21.833 purchase fluorescence, looking at 142 00:06:21.833 --> 00:06:25.208 the quality of fluorescence back when we were using 143 00:06:25.208 --> 00:06:27.166 fluorescence and it kind of bled into 144 00:06:27.166 --> 00:06:29.541 the quality of LEDs. 145 00:06:29.791 --> 00:06:30.666 What was a CRI? 146 00:06:30.666 --> 00:06:31.916 of an LED and anything 147 00:06:31.916 --> 00:06:33.583 above a 90 we considered good. 148 00:06:35.666 --> 00:06:39.625 When I looked into it, it is really a test over a 149 00:06:39.625 --> 00:06:42.416 certain band of colors like just nine 150 00:06:42.416 --> 00:06:43.375 different colors. 151 00:06:44.791 --> 00:06:48.500 The SSI takes in and I don't even know how many but 152 00:06:48.500 --> 00:06:51.333 it's many more colors so it can look 153 00:06:51.333 --> 00:06:56.750 at the gradients difference between the colors and 154 00:06:56.750 --> 00:06:59.375 it gives you a much truer indication of 155 00:06:59.375 --> 00:07:02.291 that color rendering of that particular light. 156 00:07:04.375 --> 00:07:06.500 We have to understand this is like such been such a 157 00:07:06.500 --> 00:07:09.333 changing industry especially for the 158 00:07:09.333 --> 00:07:15.666 last five plus years when we started using LEDs and 159 00:07:15.666 --> 00:07:18.208 now we're almost using nothing but 160 00:07:18.750 --> 00:07:19.291 LEDs. 161 00:07:20.166 --> 00:07:24.750 The development of the LEDs has changed as fast as 162 00:07:24.750 --> 00:07:26.416 us having to use those LEDs. 163 00:07:27.250 --> 00:07:29.791 So five years ago it's not the same LEDs as the 164 00:07:29.791 --> 00:07:32.041 LEDs that we're using now or the science 165 00:07:32.208 --> 00:07:33.958 and the mixing those. 166 00:07:34.541 --> 00:07:37.000 I know Aperture just had a video out that you 167 00:07:37.000 --> 00:07:39.458 shared with me that we were looking at if 168 00:07:39.458 --> 00:07:40.708 it's okay to mention this. 169 00:07:41.416 --> 00:07:44.541 That they were talking about SSI and how Aperture 170 00:07:44.541 --> 00:07:47.875 is using multiple different, I think it was 171 00:07:47.875 --> 00:07:50.875 seven different colors to render white light 172 00:07:50.875 --> 00:07:54.333 whether it's tungsten or daylight or anything 173 00:07:54.333 --> 00:07:54.875 in between. 174 00:07:56.916 --> 00:07:58.833 That's been in the industry for a really long time. 175 00:08:00.208 --> 00:08:04.000 ETC lusters have been using that forever. 176 00:08:04.000 --> 00:08:07.250 If you look down the barrel of a luster, a LECO, 177 00:08:07.666 --> 00:08:10.875 you'll see that there's mint, green, 178 00:08:11.541 --> 00:08:13.708 magenta, there's just not RGB, 179 00:08:14.166 --> 00:08:17.208 white, amber, those typical colors. 180 00:08:17.583 --> 00:08:20.000 There is a whole cluster of LEDs that 181 00:08:20.000 --> 00:08:23.375 are in there to create a white light. 182 00:08:24.833 --> 00:08:26.250 ARRI does the same thing with the sky panels. 183 00:08:27.500 --> 00:08:31.375 Their color science has been top forever and 184 00:08:31.375 --> 00:08:33.416 they're doing the same thing when you 185 00:08:33.416 --> 00:08:36.041 pull the panel and look at the raw LEDs. 186 00:08:36.333 --> 00:08:37.291 You can see that there's a 187 00:08:37.291 --> 00:08:39.166 mixture of light that's going on. 188 00:08:40.125 --> 00:08:42.250 I think the luster from ETC has 189 00:08:42.250 --> 00:08:44.333 been around for at least 10 years. 190 00:08:44.333 --> 00:08:45.500 I know I've been using those. 191 00:08:47.041 --> 00:08:49.291 This is not new science that's been around. 192 00:08:52.291 --> 00:08:55.125 I just want to mention that because people get 193 00:08:55.125 --> 00:08:57.916 caught up into what one manufacturer 194 00:08:58.041 --> 00:09:00.000 says they have and thinks their's the 195 00:09:00.000 --> 00:09:02.125 only one that does that and it's not. 196 00:09:02.666 --> 00:09:03.541 It's been around for a while. 197 00:09:04.583 --> 00:09:05.666 Let's talk a little bit about 198 00:09:05.666 --> 00:09:07.375 the types of lights that we have. 199 00:09:07.833 --> 00:09:11.041 I remember when you and I got into the business 200 00:09:11.041 --> 00:09:12.916 pretty much around the same time. 201 00:09:13.500 --> 00:09:15.708 Exactly. 202 00:09:15.708 --> 00:09:17.208 We were using candles. 203 00:09:19.750 --> 00:09:20.458 Exactly. 204 00:09:21.250 --> 00:09:22.833 It started with good old daylight. 205 00:09:23.583 --> 00:09:27.916 I still remember the crews go out with the old 206 00:09:27.916 --> 00:09:29.916 Molt Richardson kits or if we were lucky 207 00:09:29.916 --> 00:09:33.916 we had a nice four light pack of the ARRI lights. 208 00:09:34.458 --> 00:09:35.708 They were all tungsten lighting. 209 00:09:37.291 --> 00:09:39.250 Then after which would give us 210 00:09:39.250 --> 00:09:43.833 that 3200 Kelvin indoor look. 211 00:09:45.458 --> 00:09:49.833 From there went into HDMI and then from there into 212 00:09:49.833 --> 00:09:51.791 the fluorescent keno flows and then into 213 00:09:51.791 --> 00:09:52.708 the LED world. 214 00:09:53.166 --> 00:09:55.083 Can you talk about each of 215 00:09:55.083 --> 00:09:57.083 those lighting technologies? 216 00:09:57.541 --> 00:10:01.625 What does that give us on the image? 217 00:10:01.833 --> 00:10:02.500 What does that bring? 218 00:10:03.000 --> 00:10:05.708 Why would you choose one of those lights versus a 219 00:10:05.708 --> 00:10:06.750 different one of those lights? 220 00:10:06.875 --> 00:10:07.500 What are the advantages or 221 00:10:07.500 --> 00:10:09.500 disadvantages in lighting wise? 222 00:10:10.916 --> 00:10:14.083 It's interesting that you're talking about that 223 00:10:14.083 --> 00:10:18.000 because all those different lights I 224 00:10:18.000 --> 00:10:19.916 look at like a painter with 225 00:10:19.916 --> 00:10:21.083 a palette full of brushes. 226 00:10:21.666 --> 00:10:23.041 They all do certain things. 227 00:10:25.208 --> 00:10:29.375 The current charts right now, I was just looking at 228 00:10:29.375 --> 00:10:30.708 some stuff when we were talking about doing 229 00:10:30.708 --> 00:10:30.958 this. 230 00:10:30.958 --> 00:10:31.625 I was looking at some 231 00:10:31.625 --> 00:10:35.416 information about the different CRI, SSI. 232 00:10:35.458 --> 00:10:38.250 I think it's TSI, a television index. 233 00:10:39.875 --> 00:10:42.625 They're all comparing it to a spectrum but that 234 00:10:42.625 --> 00:10:44.916 spectrum is compared to tungsten lighting 235 00:10:45.333 --> 00:10:46.625 which has kind of been interesting. 236 00:10:46.625 --> 00:10:50.125 Every time I'm listening to a podcast or something 237 00:10:50.125 --> 00:10:52.375 on YouTube about this, those measurements 238 00:10:52.416 --> 00:10:54.166 get compared to tungsten lighting. 239 00:10:55.958 --> 00:10:59.000 We were talking about years ago I used to have, I 240 00:10:59.000 --> 00:11:01.000 was at NAB and I picked up this little 241 00:11:01.708 --> 00:11:04.875 spectroscope that's used for jewelers. 242 00:11:05.458 --> 00:11:07.750 You can actually hold it up to your eye and look, 243 00:11:08.125 --> 00:11:09.708 physically look at a light and it breaks 244 00:11:09.708 --> 00:11:11.500 up the spectrum of the light for you. 245 00:11:12.416 --> 00:11:16.958 Tungsten will have this very even gradient field. 246 00:11:17.458 --> 00:11:19.958 It's just a beautiful rainbow across it. 247 00:11:20.541 --> 00:11:24.041 Then you hold that up to a fluorescent light and 248 00:11:24.041 --> 00:11:26.041 it's a very chopped up spectrum. 249 00:11:26.666 --> 00:11:29.666 The green may be spiked a little bit bigger than 250 00:11:29.666 --> 00:11:33.166 normal and it may have pieces missing. 251 00:11:33.166 --> 00:11:34.916 There's just no color there. 252 00:11:36.041 --> 00:11:37.958 That's what gets interesting because when there's 253 00:11:37.958 --> 00:11:39.875 no color there, you can't render that 254 00:11:39.875 --> 00:11:40.208 color. 255 00:11:40.916 --> 00:11:42.791 If it's missing from the spectrum of the light 256 00:11:42.791 --> 00:11:45.000 you're doing, you just can't see it. 257 00:11:45.708 --> 00:11:48.500 To me, tungsten's kind of that holy grail of 258 00:11:48.500 --> 00:11:52.666 instruments but because of the power consumptions 259 00:11:52.750 --> 00:11:55.500 and the ease of the LED and being able to go from 260 00:11:55.500 --> 00:11:57.416 daylight to tungsten in one fixture 261 00:11:57.416 --> 00:12:00.208 and being able to control it on your phone, we've 262 00:12:00.208 --> 00:12:01.666 come to a different place. 263 00:12:02.791 --> 00:12:06.833 HMI's fall in that same spectrum as tungsten 264 00:12:06.833 --> 00:12:09.791 because their color rendering field was always 265 00:12:09.791 --> 00:12:10.416 pretty good. 266 00:12:11.291 --> 00:12:13.541 It had a really nice even feel to it. 267 00:12:13.833 --> 00:12:15.583 It had a nice punch to it and it was 268 00:12:15.583 --> 00:12:18.458 daylight so it was able to give us sun. 269 00:12:19.666 --> 00:12:22.375 I still look at some of the 270 00:12:22.375 --> 00:12:26.416 lights today that we're going out with. 271 00:12:27.291 --> 00:12:30.208 It's got a big chip in it 272 00:12:30.208 --> 00:12:32.708 and you put a reflector on it. 273 00:12:32.708 --> 00:12:33.875 It just can't give you 274 00:12:33.875 --> 00:12:37.333 this real spiky sunlight look. 275 00:12:38.250 --> 00:12:42.333 You can cheat it by exposure but it's still not 276 00:12:42.333 --> 00:12:44.666 like a hard sunlight look. 277 00:12:45.333 --> 00:12:47.916 You can put just like an M18 outside a window and 278 00:12:47.916 --> 00:12:52.041 hit something on the sink or whatever 279 00:12:52.041 --> 00:12:53.625 and it looks like sunlight. 280 00:12:54.083 --> 00:12:56.250 It's just not a diffuse sunlight 281 00:12:56.250 --> 00:12:57.375 coming through a cloud looking. 282 00:12:58.166 --> 00:13:01.666 That's kind of where that painter's palette comes 283 00:13:01.666 --> 00:13:03.500 in, the brushes that you have to use. 284 00:13:04.041 --> 00:13:06.208 I don't want to poo-poo on the LEDs because they're 285 00:13:06.208 --> 00:13:07.375 great and they're convenient and they're 286 00:13:07.500 --> 00:13:10.625 wonderful, but sometimes you want to have another 287 00:13:10.625 --> 00:13:12.500 one of these instruments in your palette 288 00:13:12.500 --> 00:13:13.458 to kind of ... 289 00:13:13.541 --> 00:13:18.083 You need that punch to have coming through that. 290 00:13:18.291 --> 00:13:18.500 Right. 291 00:13:19.083 --> 00:13:19.291 Right. 292 00:13:19.833 --> 00:13:21.833 There's where the big HMIs come into play. 293 00:13:23.125 --> 00:13:23.416 Go ahead. 294 00:13:23.666 --> 00:13:24.791 I remember a couple of sets. 295 00:13:25.000 --> 00:13:29.375 We were shooting in a kitchen and you had two 18Ks 296 00:13:29.375 --> 00:13:31.750 or two 20Ks out coming through each 297 00:13:31.750 --> 00:13:35.458 of the window and we had mornings that looked like 298 00:13:35.458 --> 00:13:37.000 morning sunlight all day long. 299 00:13:37.208 --> 00:13:37.500 All day long. 300 00:13:37.500 --> 00:13:38.916 10 hour day all shot on. 301 00:13:39.375 --> 00:13:39.541 Yeah. 302 00:13:39.916 --> 00:13:41.625 It's a great advantage that way. 303 00:13:41.708 --> 00:13:43.791 Well, and that's why you light like that because 304 00:13:43.791 --> 00:13:45.291 you want to shoot throughout the day 305 00:13:45.291 --> 00:13:46.583 and have consistency and you 306 00:13:46.583 --> 00:13:48.875 don't rely on the sun at all. 307 00:13:50.166 --> 00:13:54.666 A lot of times we're covering the windows from 308 00:13:54.666 --> 00:13:56.916 outside or blocking the hard sun from 309 00:13:57.000 --> 00:13:59.583 coming in and it can be difficult because you got a 310 00:13:59.583 --> 00:14:01.083 light that's 20 feet away from the 311 00:14:01.083 --> 00:14:03.000 window shining into a light and you got to keep the 312 00:14:03.000 --> 00:14:04.875 raw light out and it gets tricky. 313 00:14:05.208 --> 00:14:06.791 That's where key grips come into place. 314 00:14:08.583 --> 00:14:09.666 I was one of my questions. 315 00:14:09.666 --> 00:14:10.708 How do you handle the sun? 316 00:14:10.708 --> 00:14:13.250 If we have all this light that we're providing, we 317 00:14:13.250 --> 00:14:15.708 have to deal with the natural light, which 318 00:14:15.708 --> 00:14:16.500 is what we're used to 319 00:14:16.500 --> 00:14:18.416 looking at, dealing with that. 320 00:14:19.250 --> 00:14:22.416 I remember some being on a set where a DP started 321 00:14:22.416 --> 00:14:26.333 with a 20K and I remember counting. 322 00:14:26.333 --> 00:14:30.083 It went through 12 or 14 different elements in 323 00:14:30.083 --> 00:14:32.541 front of the light to get down onto ... 324 00:14:32.541 --> 00:14:36.041 We could have set it up with a joker or some other 325 00:14:36.041 --> 00:14:39.000 smaller light, but he wanted to have 326 00:14:39.041 --> 00:14:40.333 all this diffusion of on 327 00:14:40.333 --> 00:14:41.416 to step it all the way down. 328 00:14:42.625 --> 00:14:44.000 You probably know who I'm talking about too. 329 00:14:44.583 --> 00:14:46.083 I think you're on that set. 330 00:14:47.208 --> 00:14:48.000 You were talking earlier 331 00:14:48.000 --> 00:14:49.875 about your conversations with DPs. 332 00:14:50.666 --> 00:14:54.958 When does the conversation actually start about how 333 00:14:54.958 --> 00:14:56.875 you're going to sculpt this light, 334 00:14:57.375 --> 00:14:59.458 which will end up defining the scene? 335 00:15:00.750 --> 00:15:03.166 How does that, what does the conversation start and 336 00:15:03.166 --> 00:15:04.625 how does that process develop? 337 00:15:06.583 --> 00:15:09.416 Typically, we'll do a scout, show up the day 338 00:15:09.416 --> 00:15:11.000 before, a couple of days before the shoot. 339 00:15:11.916 --> 00:15:14.375 We meet and we go through every setup. 340 00:15:16.583 --> 00:15:19.458 Typically at the beginning of it, I'll show up a 341 00:15:19.458 --> 00:15:22.333 little bit early and now I do it in my 342 00:15:22.333 --> 00:15:22.666 phone. 343 00:15:22.666 --> 00:15:24.166 I just grab my phone and pull 344 00:15:24.166 --> 00:15:25.708 out where the sun's going to be. 345 00:15:26.541 --> 00:15:29.291 I use Sunseeker and it tells me what time of day 346 00:15:29.291 --> 00:15:31.458 the sun is going to be there and where 347 00:15:31.458 --> 00:15:32.916 it's going to be at any time of day. 348 00:15:33.916 --> 00:15:36.166 During the scout, the DP will look at me and say, 349 00:15:36.375 --> 00:15:37.375 "Where's the sun going to be?" 350 00:15:38.375 --> 00:15:39.708 Or "When is the sun going 351 00:15:39.708 --> 00:15:40.875 to be in a particular place?" 352 00:15:40.875 --> 00:15:42.875 Because where we're standing, he 353 00:15:42.875 --> 00:15:45.291 would like the sun later in the afternoon. 354 00:15:45.291 --> 00:15:46.375 I said, "Well, two or three 355 00:15:46.375 --> 00:15:47.541 o'clock will be a good time." 356 00:15:47.916 --> 00:15:50.333 The schedule will be based upon that. 357 00:15:50.875 --> 00:15:52.875 It's on the scout that we talk about that. 358 00:15:53.791 --> 00:15:59.125 I try to, with all my years of experience, try to 359 00:15:59.125 --> 00:16:00.583 get into their head a little bit about 360 00:16:00.875 --> 00:16:02.125 what do they like. 361 00:16:02.125 --> 00:16:02.916 I'll ask the questions. 362 00:16:03.166 --> 00:16:06.125 How do you approach backlight? 363 00:16:06.375 --> 00:16:07.708 Do you like a lot of backlight? 364 00:16:07.708 --> 00:16:08.875 Do you not like backlight? 365 00:16:09.958 --> 00:16:13.750 You try to be a little bit more of a chameleon to 366 00:16:13.750 --> 00:16:17.375 their likes and you can go off and start 367 00:16:17.375 --> 00:16:20.208 doing setups without much input 368 00:16:20.208 --> 00:16:23.000 from them because you just figure out. 369 00:16:23.458 --> 00:16:27.166 Sometimes I'll just start doing a setup and if the 370 00:16:27.166 --> 00:16:30.416 DP isn't on board with what I'm doing, 371 00:16:30.875 --> 00:16:31.750 I don't take it personally. 372 00:16:32.000 --> 00:16:33.958 We have a conversation and we change it up and I 373 00:16:33.958 --> 00:16:38.500 have to clue into what his look is. 374 00:16:38.833 --> 00:16:41.583 Sometimes on a multi-day shoot, it may take me a 375 00:16:41.583 --> 00:16:44.208 couple of days to really clue in. 376 00:16:44.208 --> 00:16:46.333 He's not saying anything. 377 00:16:46.333 --> 00:16:47.708 I'm lighting and he's shooting. 378 00:16:48.583 --> 00:16:49.833 That's how it works out. 379 00:16:50.833 --> 00:16:53.416 Who determines which kind of instruments get put on 380 00:16:53.416 --> 00:16:54.750 the truck to be brought to the set? 381 00:16:55.583 --> 00:16:56.791 We both do. 382 00:16:58.541 --> 00:17:02.083 The DP pretty much does, but I help steer that 383 00:17:02.083 --> 00:17:06.208 decision a little bit based upon money. 384 00:17:07.125 --> 00:17:08.458 Sometimes money is a big thing. 385 00:17:08.666 --> 00:17:11.583 The budgets are... and we can't always have what we 386 00:17:11.583 --> 00:17:13.375 want or the DP can't always have what 387 00:17:13.375 --> 00:17:13.791 we want. 388 00:17:14.375 --> 00:17:17.875 I try to make a suggestion to achieve what he's 389 00:17:17.875 --> 00:17:20.791 hoping to get the best he can within 390 00:17:21.291 --> 00:17:21.791 the budget. 391 00:17:22.875 --> 00:17:26.416 Over the past five years, we have both had shoots 392 00:17:26.416 --> 00:17:28.833 that have been on the LED volume wall. 393 00:17:29.250 --> 00:17:31.875 We're fortunate to have both in here in Tampa and 394 00:17:31.875 --> 00:17:35.375 Orlando large volume walls, which major 395 00:17:36.583 --> 00:17:39.625 commercials and music videos all have been shot on. 396 00:17:41.166 --> 00:17:43.791 Sometimes I've seen them actually just going with 397 00:17:43.791 --> 00:17:46.500 the light emulated from the wall itself 398 00:17:46.708 --> 00:17:48.583 and not really adding any supplemental light. 399 00:17:49.375 --> 00:17:54.375 How is that lighting different than what coming in 400 00:17:54.375 --> 00:17:57.000 with a particular light kit or LED lights? 401 00:17:57.000 --> 00:18:00.458 Using the light from an LED wall as a 402 00:18:00.458 --> 00:18:02.958 lighting instrument kind of sucks. 403 00:18:03.875 --> 00:18:07.291 When you do a color reading of it, I've been on 404 00:18:07.291 --> 00:18:11.083 those wall where the CRI was at 65 and 405 00:18:11.083 --> 00:18:13.125 you don't want to shoot with anything under 90. 406 00:18:13.916 --> 00:18:16.875 I remember I was on a shoot and we had the camera 407 00:18:16.875 --> 00:18:19.666 sitting there on the camera cart and 408 00:18:19.666 --> 00:18:21.583 the camera cart is on, the monitor is on. 409 00:18:22.000 --> 00:18:25.958 It just happened to be looking at a pack of 410 00:18:25.958 --> 00:18:29.125 Starburst that was just a little pack of candy 411 00:18:29.125 --> 00:18:29.791 sitting on there. 412 00:18:29.791 --> 00:18:31.208 You know how Starburst is really yellow. 413 00:18:32.750 --> 00:18:35.708 The AC pushed it out of our light and it went into 414 00:18:35.708 --> 00:18:37.875 the light wall and that Starburst package, 415 00:18:38.541 --> 00:18:40.791 I watched it go from yellow to 416 00:18:40.791 --> 00:18:44.458 brown, is how dramatic that was. 417 00:18:45.416 --> 00:18:49.833 My theory of thinking with all of those is those 418 00:18:49.833 --> 00:18:52.833 video walls are meant to view. 419 00:18:54.041 --> 00:18:55.958 They're not built and 420 00:18:55.958 --> 00:18:58.208 engineered as a lighting instrument. 421 00:18:58.875 --> 00:19:01.666 You have all these companies that talk about the 422 00:19:01.666 --> 00:19:04.625 effort that they take and the rendering 423 00:19:05.250 --> 00:19:07.625 white light through their lights by adding all 424 00:19:07.625 --> 00:19:09.500 these colors and to do that like we talked 425 00:19:09.541 --> 00:19:10.333 about. 426 00:19:11.208 --> 00:19:13.208 A video wall doesn't do that. 427 00:19:13.208 --> 00:19:15.583 It's a television screen. 428 00:19:16.500 --> 00:19:19.916 There was no intention for using it as a light 429 00:19:19.916 --> 00:19:21.291 source when it was built. 430 00:19:24.666 --> 00:19:26.666 I always feel like you've got to come in with 431 00:19:26.666 --> 00:19:28.166 proper lighting when you do that. 432 00:19:28.958 --> 00:19:34.041 Some of those studios rent out for $30,000 a day if 433 00:19:34.041 --> 00:19:35.208 you're going to spend that much 434 00:19:35.833 --> 00:19:38.666 in just the location - have proper lighting. 435 00:19:39.583 --> 00:19:41.291 Otherwise you're going to end up with nothing 436 00:19:41.291 --> 00:19:43.791 that's going to be appealing when you're finished 437 00:19:43.791 --> 00:19:44.416 with it in post. 438 00:19:45.500 --> 00:19:48.666 On the line, the colorist hands are tied because as 439 00:19:48.666 --> 00:19:50.250 you say, if the light is not there 440 00:19:50.250 --> 00:19:52.125 to begin with, it's really 441 00:19:52.125 --> 00:19:53.458 difficult to create it from nothing. 442 00:19:53.791 --> 00:19:55.125 Correct. Right. 443 00:19:55.875 --> 00:19:58.250 We've had this conversation multiple times, but 444 00:19:58.250 --> 00:20:01.708 let's talk about images being people viewing 445 00:20:01.958 --> 00:20:05.791 final products and seeing things are too dark like 446 00:20:05.791 --> 00:20:09.041 the Game of Thrones episode from years ago. 447 00:20:12.375 --> 00:20:14.458 Our modern cameras are able to 448 00:20:14.458 --> 00:20:17.291 have 15, 18 stops of dynamic range. 449 00:20:18.541 --> 00:20:21.125 A lot of times now the projects are all being color 450 00:20:21.125 --> 00:20:23.458 graded for HDR delivery, for Netflix 451 00:20:23.625 --> 00:20:25.541 or other streaming services. 452 00:20:29.166 --> 00:20:32.708 Years ago, cameras were six, seven stops of dynamic 453 00:20:32.708 --> 00:20:34.708 range and that was a good, high quality 454 00:20:34.708 --> 00:20:35.125 camera. 455 00:20:35.958 --> 00:20:39.875 Now that we're up at 15, 18, how is that changing 456 00:20:39.875 --> 00:20:42.166 how you were lighting a set or how you should 457 00:20:42.208 --> 00:20:43.000 be lighting a set? 458 00:20:43.375 --> 00:20:44.333 We're not using any light. 459 00:20:45.875 --> 00:20:47.208 What's interesting about it is 460 00:20:47.208 --> 00:20:50.083 you're using very, very little light. 461 00:20:51.333 --> 00:20:56.166 They're shooting these things at such a high ISO 462 00:20:56.166 --> 00:21:01.250 rating that you turn a lighter on, it 463 00:21:01.250 --> 00:21:04.333 makes a difference in the quality of light. 464 00:21:05.458 --> 00:21:06.458 There's two sides of that. 465 00:21:06.500 --> 00:21:09.750 I get really excited about that because with very 466 00:21:09.750 --> 00:21:14.291 little, you can literally paint a scene. 467 00:21:15.666 --> 00:21:20.791 My wife was watching TV the other day and she goes, 468 00:21:20.791 --> 00:21:22.000 "I can't even watch a show anymore. 469 00:21:22.000 --> 00:21:22.958 I can't even see it." 470 00:21:24.041 --> 00:21:27.208 You and I were talking about, we were doing a 471 00:21:27.208 --> 00:21:30.291 little prep call about things that are driving 472 00:21:30.291 --> 00:21:31.125 me a little crazy. 473 00:21:31.541 --> 00:21:34.125 Now when I watch TV, it's just too dark. 474 00:21:34.125 --> 00:21:35.583 You can't see anything. 475 00:21:36.541 --> 00:21:38.125 I always wonder why is it? 476 00:21:38.125 --> 00:21:41.708 I think some of that is more in the way it's 477 00:21:41.708 --> 00:21:45.375 delivered instead of how it's shot. 478 00:21:46.916 --> 00:21:51.583 I do think that on the set too, that they're just, 479 00:21:51.583 --> 00:21:53.000 I always feel like you can expose a 480 00:21:53.000 --> 00:21:55.208 little bit more and then you can always downgrade 481 00:21:55.208 --> 00:21:57.291 it or bring it down in post. 482 00:21:57.291 --> 00:21:58.833 That's always easier to do. 483 00:21:59.458 --> 00:22:01.083 I'm not saying light it like daylight. 484 00:22:01.875 --> 00:22:07.750 I'm saying light it and then you can 485 00:22:07.750 --> 00:22:09.083 control it a little bit more later. 486 00:22:09.833 --> 00:22:10.250 Absolutely. 487 00:22:10.750 --> 00:22:12.708 Particularly in the formats that we're dealing 488 00:22:12.708 --> 00:22:15.208 with, Log and Raw and all those things, we 489 00:22:15.208 --> 00:22:17.708 have so much more control after the fact now. 490 00:22:18.416 --> 00:22:20.500 Like in the old film days, once 491 00:22:20.500 --> 00:22:21.875 you were exposed, that was it. 492 00:22:21.875 --> 00:22:23.541 You're locked into your exposure there. 493 00:22:23.750 --> 00:22:26.541 I was talking to one of the guys that works in our 494 00:22:26.541 --> 00:22:28.833 shop and he's aspiring to be a gaffer 495 00:22:29.000 --> 00:22:29.458 and stuff. 496 00:22:29.458 --> 00:22:30.666 We were just talking about 497 00:22:30.666 --> 00:22:32.416 different setups and using lights. 498 00:22:32.875 --> 00:22:38.333 I was telling him how on the sky panels and some of 499 00:22:38.333 --> 00:22:41.500 the LEDs, I will still put an ND6 500 00:22:42.625 --> 00:22:46.208 on the light because when we're working in the last 501 00:22:46.208 --> 00:22:48.916 5%, you dimmed it down and in your 502 00:22:48.916 --> 00:22:52.708 last 5%, you have no range to dim anymore. 503 00:22:52.875 --> 00:22:54.958 It just goes from off to on. 504 00:22:56.625 --> 00:22:59.291 There's no in between and that can be too much. 505 00:23:00.208 --> 00:23:03.125 You can't grade that in between that little off and 506 00:23:03.125 --> 00:23:04.750 on when you're working in those high 507 00:23:04.791 --> 00:23:05.291 ISOs. 508 00:23:05.791 --> 00:23:07.625 I put an ND6 on them and it 509 00:23:07.625 --> 00:23:09.541 gives you a range that you can go. 510 00:23:09.541 --> 00:23:12.625 You can probably get up to 25% or 30% and down to 511 00:23:12.625 --> 00:23:14.375 the bottom and it gives you some range 512 00:23:14.375 --> 00:23:15.625 in that bottom end on the light. 513 00:23:17.458 --> 00:23:19.583 I've done that on many setups. 514 00:23:19.791 --> 00:23:25.208 I did a Disney 50th anniversary fireworks when they 515 00:23:25.208 --> 00:23:28.166 were advertising for the new fireworks 516 00:23:28.333 --> 00:23:28.583 show. 517 00:23:29.791 --> 00:23:34.666 I built trees with three sky panels in each one and 518 00:23:34.666 --> 00:23:36.958 I had them to backlight Main Street. 519 00:23:37.208 --> 00:23:39.208 The lights were literally in the shot when we did 520 00:23:39.208 --> 00:23:41.458 it and they took them out in post but 521 00:23:41.625 --> 00:23:46.291 it gave this beautiful backlight to the audience in 522 00:23:46.291 --> 00:23:49.125 the street for all the guests in the street. 523 00:23:50.416 --> 00:23:53.458 I don't know if you ever watched fireworks, what it 524 00:23:53.458 --> 00:23:55.416 does to people when it's actually on 525 00:23:55.625 --> 00:23:59.333 It just gives this really soft glow and there's not 526 00:23:59.333 --> 00:24:02.125 much of a color change even by your eye 527 00:24:02.125 --> 00:24:03.291 that you can really see. 528 00:24:04.875 --> 00:24:09.000 We've done this for years as we kind of cheat what 529 00:24:09.000 --> 00:24:10.541 the look of fireworks are on the little 530 00:24:10.541 --> 00:24:13.458 girl's face as she's over her dad's shoulder and 531 00:24:13.458 --> 00:24:14.958 how it looks and everything. 532 00:24:14.958 --> 00:24:16.500 We've been cheating that for as 533 00:24:16.500 --> 00:24:19.291 long as I've been working with Disney. 534 00:24:20.375 --> 00:24:24.958 We had this beautiful light but behind us you 535 00:24:24.958 --> 00:24:27.375 wanted to kind of bring the bottom out 536 00:24:27.375 --> 00:24:30.125 and not just have it so silhouetted with color. 537 00:24:30.833 --> 00:24:34.083 I had another tree behind us going through actually 538 00:24:34.083 --> 00:24:36.875 two 12 by grids to soften up but 539 00:24:36.916 --> 00:24:39.791 I also had an ND6 on it because when I do those 540 00:24:39.791 --> 00:24:43.916 jobs I go on a real board and I'll spike 541 00:24:43.916 --> 00:24:45.583 up the faders and then slowly 542 00:24:45.583 --> 00:24:47.750 bring them down for each color. 543 00:24:48.041 --> 00:24:49.958 So I got like three or four different colors going 544 00:24:49.958 --> 00:24:52.916 and I can bang it up super hot and slowly 545 00:24:53.083 --> 00:24:53.958 grade it down. 546 00:24:54.041 --> 00:24:56.666 So the light behind me I don't want to have to pay 547 00:24:56.666 --> 00:24:59.041 attention to going halfway and down 548 00:24:59.041 --> 00:25:02.166 so I just put all that gel on it, dim it all down 549 00:25:02.166 --> 00:25:03.833 and just go all the way up and slowly 550 00:25:03.833 --> 00:25:05.166 bring it down like everything else. 551 00:25:06.875 --> 00:25:10.416 Using NDs on lights sometimes guys are going to go 552 00:25:10.416 --> 00:25:13.208 what are you doing that for but it comes 553 00:25:13.208 --> 00:25:14.083 in really handy. 554 00:25:16.291 --> 00:25:16.708 Super handy. 555 00:25:17.000 --> 00:25:18.291 Yeah as you're saying that's staying out of that 556 00:25:18.291 --> 00:25:19.583 lower power side of the light. 557 00:25:20.666 --> 00:25:25.666 Do you make choices on which instruments or 558 00:25:25.666 --> 00:25:27.583 fixtures you'll be using depending on the 559 00:25:27.708 --> 00:25:29.375 camera or the lens set 560 00:25:29.375 --> 00:25:32.458 that the DP goes with on set? 561 00:25:32.750 --> 00:25:33.333 Not really. 562 00:25:34.333 --> 00:25:35.125 Not really. 563 00:25:35.958 --> 00:25:39.125 So you wouldn't make any changes for anamorphic 564 00:25:39.125 --> 00:25:42.416 lenses as opposed to regular spherical lenses? 565 00:25:42.416 --> 00:25:44.833 As far as lighting goes no I just make sure I got 566 00:25:44.833 --> 00:25:46.208 to put them way out of the shot. 567 00:25:49.166 --> 00:25:51.500 No I mean it really doesn't. 568 00:25:51.833 --> 00:25:55.125 Lighting it should always be this way. 569 00:25:55.333 --> 00:25:58.458 There was a moment where I think we sidetracked 570 00:25:58.458 --> 00:26:01.791 where Sony you know I remember there's a company 571 00:26:01.791 --> 00:26:04.250 and I'm gonna remain they're gonna remain nameless. 572 00:26:04.791 --> 00:26:07.875 I walked into their booth and I was complaining on 573 00:26:07.875 --> 00:26:10.291 how their lights were a little bit magenta 574 00:26:10.791 --> 00:26:13.500 and the excuse the salesman used to me was well 575 00:26:13.500 --> 00:26:18.125 there we matched them to the Sony chip 576 00:26:19.166 --> 00:26:20.833 and my response is like 577 00:26:20.833 --> 00:26:23.625 what's wrong with just white light? 578 00:26:23.625 --> 00:26:25.083 Why do we have a light that works 579 00:26:25.083 --> 00:26:26.833 better with one camera than another? 580 00:26:27.791 --> 00:26:30.583 We never had this before you had film you had 581 00:26:30.583 --> 00:26:32.583 tungsten you had daylight you had all 582 00:26:32.583 --> 00:26:35.625 the colors in between there that you could make but 583 00:26:35.625 --> 00:26:38.125 it was white light you know and you 584 00:26:38.125 --> 00:26:41.916 made your choices so trying to make choices based 585 00:26:41.916 --> 00:26:48.250 on a lens or a camera I feel like it 586 00:26:48.250 --> 00:26:50.250 should just be white light and let the lens or the 587 00:26:50.250 --> 00:26:53.250 camera do what they do on their own 588 00:26:53.541 --> 00:26:57.416 based upon that white light because who comes first 589 00:26:57.416 --> 00:26:59.083 the white light or the camera or the 590 00:26:59.083 --> 00:27:01.208 camera or the white light you know. 591 00:27:02.583 --> 00:27:05.500 Precisely what light is you know what are we 592 00:27:05.500 --> 00:27:07.541 sculpting with here to see you know originally 593 00:27:07.541 --> 00:27:10.333 with all right one of the one of the best 594 00:27:10.333 --> 00:27:13.375 commercials that you and I worked on together 595 00:27:13.500 --> 00:27:16.750 visually in my opinion was one we did for Nike 596 00:27:16.750 --> 00:27:19.833 years ago with a certain running back 597 00:27:19.833 --> 00:27:22.916 football player I won't tell you know we won't give 598 00:27:22.916 --> 00:27:25.000 up too much of that away but you took 599 00:27:25.000 --> 00:27:27.625 out what I tend to be is like one of my favorite 600 00:27:27.625 --> 00:27:30.583 lights are the nine lights right which are 601 00:27:30.625 --> 00:27:34.333 the every time those lights get used it's just such 602 00:27:34.333 --> 00:27:36.791 a beautiful rendering like every 603 00:27:36.791 --> 00:27:39.083 one of every shot that gets used on the always 604 00:27:39.083 --> 00:27:42.291 looks absolutely just amazing and cinematic 605 00:27:42.291 --> 00:27:44.958 and even if that's not the intended goal it just 606 00:27:44.958 --> 00:27:47.416 ends up being there and that and that 607 00:27:47.416 --> 00:27:50.125 was a very crazy day but I think your solution 608 00:27:50.125 --> 00:27:52.958 would be setting up those nine lights really 609 00:27:53.250 --> 00:27:55.458 tungsten you know it's just tungsten. 610 00:27:55.500 --> 00:27:59.958 Yeah and what's cool about that is you know as a 611 00:27:59.958 --> 00:28:02.041 gaffer and just technically on the set 612 00:28:02.041 --> 00:28:04.750 you know they're a little power hungry but you run 613 00:28:04.750 --> 00:28:06.125 a cord to the light and you plug it 614 00:28:06.125 --> 00:28:08.958 in you don't have a ballast a header or cord got to 615 00:28:08.958 --> 00:28:10.291 strike the light and all that stuff 616 00:28:10.291 --> 00:28:12.250 you just plug the light in and go so the equipment 617 00:28:12.250 --> 00:28:15.500 you're carrying is a lot less it's a lot easier 618 00:28:15.500 --> 00:28:18.375 to run a hundred amp cable to a light then run a 619 00:28:18.375 --> 00:28:19.875 hundred amp cable to a ballast and then 620 00:28:19.875 --> 00:28:22.166 you got to put two headers on the light and you 621 00:28:22.166 --> 00:28:24.083 know and then typically you got to put 622 00:28:24.125 --> 00:28:27.083 your gel on it too kind of soften up the nine light 623 00:28:27.083 --> 00:28:29.583 make a one but yeah it's tungsten 624 00:28:29.583 --> 00:28:32.166 we go back to tungsten you know friend I have a 625 00:28:32.166 --> 00:28:34.041 friend of mine that's a chef and I always 626 00:28:34.041 --> 00:28:36.166 ask him how do you make this taste so good he says 627 00:28:36.166 --> 00:28:40.500 butter tungsten is tungsten is our 628 00:28:40.500 --> 00:28:44.750 butter you know you just can't get away from that. 629 00:28:44.750 --> 00:28:47.291 Yeah no I mean there is something to say you said 630 00:28:47.291 --> 00:28:49.291 about the classics for sure yeah no it's 631 00:28:49.291 --> 00:28:51.708 a beautiful light and you know like we talked about 632 00:28:51.708 --> 00:28:55.375 earlier it just has texture to it and 633 00:28:56.083 --> 00:28:58.875 you know I get a little frustrated with the new dps 634 00:28:58.875 --> 00:29:01.166 and people the younger generation 635 00:29:01.166 --> 00:29:03.833 it's coming out they really don't understand 636 00:29:03.833 --> 00:29:07.541 texture and the subtle differences in the 637 00:29:07.541 --> 00:29:11.000 quality of light it's to them and it's illuminating 638 00:29:11.000 --> 00:29:13.666 source and it gets a little frustrating when 639 00:29:13.666 --> 00:29:15.541 it gets looked at like that you know. 640 00:29:15.541 --> 00:29:17.291 But it actually leads perfectly into my next 641 00:29:17.291 --> 00:29:19.708 question because I was going to say I tend 642 00:29:19.708 --> 00:29:23.666 to notice with younger dps these days they tend to 643 00:29:23.666 --> 00:29:26.500 keep going to the new more modern 644 00:29:26.500 --> 00:29:31.541 LED Aperture type environments because that's kind 645 00:29:31.541 --> 00:29:32.833 of what they've you know when they were 646 00:29:32.833 --> 00:29:35.041 in school that's what the school had because 647 00:29:35.041 --> 00:29:37.791 there's a price difference between an Aperture 648 00:29:37.833 --> 00:29:41.458 light and the high-end Arri lights and they don't 649 00:29:41.458 --> 00:29:44.958 seem to whoever utilize these really 650 00:29:45.083 --> 00:29:48.750 higher-end lights and less and less times they're I 651 00:29:48.750 --> 00:29:50.125 seem to see them on set it's like 652 00:29:50.125 --> 00:29:52.291 you have access to these great lights why are you 653 00:29:52.291 --> 00:29:54.375 not using it so is that just something 654 00:29:54.375 --> 00:29:57.458 the dps just need more exposure to or how is that 655 00:29:57.458 --> 00:30:00.125 something that should be addressed 656 00:30:00.541 --> 00:30:01.250 moving forward. 657 00:30:02.166 --> 00:30:03.916 That's a great question it's a million dollar 658 00:30:03.916 --> 00:30:06.833 question you know all these lights are all 659 00:30:06.833 --> 00:30:10.166 good tools you know and some of these companies 660 00:30:10.166 --> 00:30:12.875 have done really good at marketing the light 661 00:30:13.083 --> 00:30:16.916 but is it the best tool for the job not necessarily 662 00:30:16.916 --> 00:30:20.541 you know even though it can do all of these 663 00:30:20.541 --> 00:30:24.333 things there's other lights that do better you know 664 00:30:24.333 --> 00:30:26.958 some of the newer LEDs it's maybe 665 00:30:27.000 --> 00:30:34.041 a 12k and you put a dome on the front of it and a 666 00:30:34.041 --> 00:30:36.250 big umbrella and you put a big diffusion 667 00:30:36.375 --> 00:30:38.833 on it you've got nothing coming out 668 00:30:38.833 --> 00:30:41.291 of that light to create a soft light. 669 00:30:42.125 --> 00:30:44.500 Fortunately cameras are a lot more sensitive and it 670 00:30:44.500 --> 00:30:46.333 creates it but then you get into I 671 00:30:46.333 --> 00:30:49.666 get into these conversations about you know you now 672 00:30:49.666 --> 00:30:51.416 you have no depth of field you can't 673 00:30:51.416 --> 00:30:53.750 create depth of field you're just stuck in the back 674 00:30:53.750 --> 00:30:55.750 end you know of the lens wide open 675 00:30:55.750 --> 00:30:59.416 because you just don't have enough light to you 676 00:30:59.416 --> 00:31:01.541 know just to do an interview with you 677 00:31:01.541 --> 00:31:04.250 know and you know the importance of keeping the eye 678 00:31:04.250 --> 00:31:06.000 to the nose and you know what two 679 00:31:06.041 --> 00:31:09.250 stops of light you know means going from you know a 680 00:31:09.250 --> 00:31:12.583 two to a four is a big deal you 681 00:31:12.583 --> 00:31:16.333 know so and doesn't mean you can't keep your 682 00:31:16.333 --> 00:31:18.041 background out of focus on any of that but 683 00:31:18.041 --> 00:31:19.541 you don't have that choice. 684 00:31:20.458 --> 00:31:22.625 Well you said you know going from your eyes to nose 685 00:31:22.625 --> 00:31:23.791 we're talking about depth of field 686 00:31:23.875 --> 00:31:29.333 so explain to how what the lens setting is to 687 00:31:29.333 --> 00:31:32.625 create depth of field and how that really 688 00:31:32.666 --> 00:31:33.583 makes a difference on 689 00:31:33.583 --> 00:31:35.000 visually what we're seeing on set. 690 00:31:37.208 --> 00:31:42.458 Well the more light you have the more the closed the 691 00:31:42.458 --> 00:31:44.375 aperture the lens gets smaller which 692 00:31:44.375 --> 00:31:47.958 creates a larger depth of field so if you're 693 00:31:47.958 --> 00:31:51.416 shooting a plate of food on a tabletop and 694 00:31:51.416 --> 00:31:51.875 you want. 695 00:31:52.166 --> 00:31:55.458 Now just now just as a let me just say so depth of 696 00:31:55.458 --> 00:31:58.250 field is the how much space is actually 697 00:31:58.375 --> 00:31:59.125 in focus. 698 00:31:59.666 --> 00:31:59.875 Correct. 699 00:32:00.041 --> 00:32:03.416 So from the difference from the lens to a certain 700 00:32:03.416 --> 00:32:06.583 point is whether you have a you know 701 00:32:06.583 --> 00:32:09.583 smaller narrow range of depth of field or a wider 702 00:32:09.583 --> 00:32:10.791 range where you see like a lot of 703 00:32:10.791 --> 00:32:16.291 times in modern television the person in the shot 704 00:32:16.291 --> 00:32:18.333 is in focus and the person on the other 705 00:32:18.333 --> 00:32:20.791 side of the table is out of focus where you notice 706 00:32:20.791 --> 00:32:24.166 in you know television from the 60s 707 00:32:24.250 --> 00:32:27.291 or films from the 60s both people might be in focus 708 00:32:27.291 --> 00:32:29.166 at the same time and have a conversation 709 00:32:29.375 --> 00:32:31.333 without the focus having to drift back and forth. 710 00:32:31.875 --> 00:32:33.166 The difference is the depth of 711 00:32:33.166 --> 00:32:34.916 field of how much is being seen. 712 00:32:35.375 --> 00:32:37.875 How is that controlled by your lighting? 713 00:32:40.041 --> 00:32:41.250 If you want more depth of field 714 00:32:41.250 --> 00:32:43.125 you have to create more lighting. 715 00:32:43.458 --> 00:32:44.625 The lighting has to be brighter. 716 00:32:45.666 --> 00:32:50.250 The ISO can drop too so that or raise you're going 717 00:32:50.250 --> 00:32:52.333 to shoot at a more sensitive ISO so 718 00:32:52.375 --> 00:32:55.125 instead of like a 400 you're going to go at 800 and 719 00:32:55.125 --> 00:32:57.125 now you can go to 1600 and you 720 00:32:57.125 --> 00:33:01.166 can open the lens I'm sorry you would close the 721 00:33:01.166 --> 00:33:04.666 lens more to create a larger depth of 722 00:33:04.666 --> 00:33:05.541 field you know. 723 00:33:06.291 --> 00:33:09.333 So I mean I've been on sets with even television 724 00:33:09.333 --> 00:33:11.708 shows and on some movies and stuff and you 725 00:33:11.708 --> 00:33:14.750 know they really want this really limited depth of 726 00:33:14.750 --> 00:33:17.083 field where it's three quarters of 727 00:33:17.083 --> 00:33:20.416 an inch or an inch you know so back to what I was 728 00:33:20.416 --> 00:33:22.291 saying you can't get the nose any 729 00:33:22.291 --> 00:33:25.500 eyes in focus at the same time because your depth 730 00:33:25.500 --> 00:33:28.291 of field is so shallow you know and 731 00:33:28.791 --> 00:33:32.166 when you're working in our modern world today with 732 00:33:32.166 --> 00:33:33.791 the lighting that we're doing kind of 733 00:33:33.791 --> 00:33:36.833 getting back on our subject that you know the 734 00:33:36.833 --> 00:33:39.416 lighting isn't always providing us with 735 00:33:39.500 --> 00:33:44.000 enough light for us to close down the camera to 736 00:33:44.000 --> 00:33:46.333 give us a depth of field or to even give 737 00:33:46.333 --> 00:33:48.208 us the choice to do that. 738 00:33:49.125 --> 00:33:52.250 You know where I always feel like you want a choice 739 00:33:52.250 --> 00:33:53.625 you don't want to get pigeonholed 740 00:33:53.625 --> 00:33:57.458 on set because if the DP says I'd like to open a 741 00:33:57.458 --> 00:34:00.250 stop and you don't provide for that 742 00:34:00.750 --> 00:34:03.458 you're screwed you know you can't do anything 743 00:34:03.458 --> 00:34:07.166 because light lighting is logarithmic if you 744 00:34:07.166 --> 00:34:12.833 have a stop of a two and you're using 1k light and 745 00:34:12.833 --> 00:34:15.958 you want to go to a stop of a two eight 746 00:34:16.208 --> 00:34:20.750 you have to add a second you have to double that 747 00:34:20.750 --> 00:34:23.250 light so now you have two K's now if 748 00:34:23.250 --> 00:34:27.666 you want to go from a two to a four now you have to 749 00:34:27.666 --> 00:34:31.000 have four 1k lights so it's logarithmic 750 00:34:31.000 --> 00:34:34.083 as it goes down and it gets really interesting when 751 00:34:34.083 --> 00:34:35.583 you're doing high speed so if you're 752 00:34:35.583 --> 00:34:38.708 doing high speed photography and you want to do the 753 00:34:38.708 --> 00:34:41.250 same thing you may have two 10k 754 00:34:42.083 --> 00:34:46.166 working on a set or a 10k and the DP wants to go up 755 00:34:46.166 --> 00:34:48.958 two stops you got to add four 10k's 756 00:34:49.250 --> 00:34:51.250 to get up there so you have to have that 757 00:34:51.250 --> 00:34:53.166 conversation in the beginning 758 00:34:53.166 --> 00:34:55.708 when you're doing your lighting 759 00:34:55.916 --> 00:34:59.166 plot about what range do we have to be prepared to 760 00:34:59.166 --> 00:35:01.208 go through because you can always light 761 00:35:01.208 --> 00:35:05.333 more and take it down but you can't light and take 762 00:35:05.333 --> 00:35:06.416 it up because all of a sudden you 763 00:35:06.416 --> 00:35:07.458 don't have the instruments 764 00:35:07.458 --> 00:35:08.708 available to do it maybe. 765 00:35:09.875 --> 00:35:12.208 Right yeah it's just not there. The difference 766 00:35:12.208 --> 00:35:15.291 adjusting a lens at the two stop you might 767 00:35:15.291 --> 00:35:17.958 have a depth of field that is yeah basically six 768 00:35:17.958 --> 00:35:19.875 inches you know so you have just a person's 769 00:35:19.875 --> 00:35:25.541 face and by dropping it down to a four you might be 770 00:35:25.541 --> 00:35:27.291 able to have a four or five foot 771 00:35:27.708 --> 00:35:30.500 range where so they're moving around they'll still 772 00:35:30.500 --> 00:35:32.166 be in focus and you don't have to have 773 00:35:32.166 --> 00:35:35.791 your first AC constantly chasing focus and possibly 774 00:35:35.791 --> 00:35:37.666 having a lot of soft shots in there. 775 00:35:38.375 --> 00:35:42.000 Again all choices creative choices made you know by 776 00:35:42.000 --> 00:35:44.666 lighting right the available lighting is there 777 00:35:44.833 --> 00:35:48.291 so I tend to notice that everybody does want to 778 00:35:48.291 --> 00:35:50.666 have that short feel there was remember being on 779 00:35:50.833 --> 00:35:53.041 set where they were using Voigtlander lenses 780 00:35:53.041 --> 00:35:57.208 which was a 0.95 stop right you know and we 781 00:35:57.208 --> 00:35:59.625 calculated that the depth of field was two and a 782 00:35:59.625 --> 00:36:02.291 half inches and we're trying to figure out 783 00:36:02.375 --> 00:36:05.083 exactly you know ... but you could not 784 00:36:05.083 --> 00:36:09.041 talk the DP out of not being open all fully open 785 00:36:09.041 --> 00:36:12.375 all the time and you know it was just a it was a 786 00:36:12.375 --> 00:36:14.833 artistic piece to say the least you know that's 787 00:36:14.833 --> 00:36:17.250 that's all it could be it's all it's all soft you 788 00:36:17.250 --> 00:36:20.666 know. In a poor AC has eating tumbs the whole day 789 00:36:21.708 --> 00:36:23.166 trying to keep focus. 790 00:36:23.166 --> 00:36:31.000 Poor guy. It's nothing you could do. So if somebody 791 00:36:31.000 --> 00:36:34.750 was interested in learning about how to 792 00:36:35.250 --> 00:36:37.583 become a gaffer or sculpting with light or 793 00:36:37.583 --> 00:36:39.416 something like that how would they go about that? 794 00:36:41.666 --> 00:36:44.958 Well school's always the best choice and then I 795 00:36:44.958 --> 00:36:47.958 don't know after that where to go because to 796 00:36:48.375 --> 00:36:54.916 hone in on a craft I I you and I have had this 797 00:36:54.916 --> 00:36:57.166 conversation in the past too. It seems 798 00:36:57.166 --> 00:37:01.250 lately we're lacking mentors where you get out of 799 00:37:01.250 --> 00:37:06.041 school and you work for a DP that's 800 00:37:06.208 --> 00:37:10.041 done his job he's got his journeyman's card for 801 00:37:10.041 --> 00:37:13.291 lack of a better reason way of putting it and 802 00:37:13.291 --> 00:37:15.375 you know you're working with a group of guys that 803 00:37:15.375 --> 00:37:16.666 have been on set for a while 804 00:37:16.708 --> 00:37:18.791 been on set for a while you know kids are getting 805 00:37:18.791 --> 00:37:20.666 out of school and they're going right to work and 806 00:37:20.916 --> 00:37:24.208 they were losing that lack of mentorship and what 807 00:37:24.208 --> 00:37:27.625 that means into creating a craft you know 808 00:37:28.041 --> 00:37:30.375 a kid doesn't graduate from school and start doing 809 00:37:30.375 --> 00:37:32.625 finished carpentry right away you know. 810 00:37:34.000 --> 00:37:36.666 if they were starting off as a PA 811 00:37:36.666 --> 00:37:39.750 on set you know they're recently graduated or a PA 812 00:37:39.750 --> 00:37:42.625 would they want to become into the grip 813 00:37:42.708 --> 00:37:45.458 electrician department and then learn from there or 814 00:37:45.458 --> 00:37:47.333 should they go into like the camera department 815 00:37:47.333 --> 00:37:50.000 and learn lenses and lighting and stuff like that 816 00:37:50.000 --> 00:37:52.125 what's. I always say that you should go where your 817 00:37:52.125 --> 00:37:54.541 heart follows you you know if you're on the set 818 00:37:54.541 --> 00:37:56.916 you're watching the grips more than anybody else 819 00:37:56.916 --> 00:38:00.375 you know start helping them out or do what you can 820 00:38:00.375 --> 00:38:03.208 to get to know them let them know you're 821 00:38:03.208 --> 00:38:06.583 interested I mean we always encourage everybody to 822 00:38:06.583 --> 00:38:10.041 come by our shops you know and poke in and we 823 00:38:10.375 --> 00:38:13.375 encourage even technicians to come into our shops 824 00:38:13.375 --> 00:38:17.166 and we you can pull lights off the shelf and look 825 00:38:17.166 --> 00:38:20.416 at them and work them try to figure out how to do 826 00:38:20.416 --> 00:38:23.083 all of the wireless technology that's out there 827 00:38:23.083 --> 00:38:26.000 nowadays because it's all over the map what you can 828 00:38:26.000 --> 00:38:29.041 do wirelessly you know which is which has been 829 00:38:29.041 --> 00:38:32.333 just another game changer you know in the way we do 830 00:38:32.333 --> 00:38:34.708 things especially on set there is no more 831 00:38:34.875 --> 00:38:37.083 getting on a radio and asking somebody to drop a 832 00:38:37.083 --> 00:38:38.666 double in that light I'm just sitting there by 833 00:38:38.708 --> 00:38:41.500 the camera or I'll put my little light board next 834 00:38:41.500 --> 00:38:44.333 to on the dolly next to the dp and he just 835 00:38:44.375 --> 00:38:48.125 loves playing with those faders figuring out where 836 00:38:48.125 --> 00:38:51.708 he wants it but you know it's it's about 837 00:38:52.708 --> 00:38:55.333 following your heart if you're watching the ac's 838 00:38:55.333 --> 00:38:57.416 get to know them go talk to them let them know 839 00:38:57.416 --> 00:39:00.708 you're interested you know that's the best way to 840 00:39:00.708 --> 00:39:02.583 do it and then maybe if you can ask them to 841 00:39:02.791 --> 00:39:05.750 get you on a job and even if it's for free if 842 00:39:05.750 --> 00:39:07.416 they'll let you on the job for free just to 843 00:39:07.666 --> 00:39:09.666 you know run sandbags around for them do whatever 844 00:39:09.666 --> 00:39:12.250 you can you get your foot in the door and it'll 845 00:39:12.250 --> 00:39:14.958 work is there any kind of communication you know 846 00:39:14.958 --> 00:39:17.833 when being on set that you wish would get passed 847 00:39:17.875 --> 00:39:20.166 at that obviously the script notes they go to into 848 00:39:20.166 --> 00:39:22.250 the post-process the editors and stuff like that 849 00:39:22.750 --> 00:39:25.750 are there anything that you or any information you 850 00:39:25.750 --> 00:39:28.875 think is necessary from what you do on set 851 00:39:28.875 --> 00:39:32.333 as a gaffer that should be passed along through the 852 00:39:32.333 --> 00:39:35.541 post-production process oh no uh through the 853 00:39:35.833 --> 00:39:39.750 well no because i think that's more the dp's job 854 00:39:39.750 --> 00:39:42.541 right so my conversation would be with him 855 00:39:42.875 --> 00:39:45.583 or my conversation would be with what his 856 00:39:45.583 --> 00:39:49.916 intentions are to maybe help during the shoot 857 00:39:50.375 --> 00:39:52.458 you know where what are you what are the intentions 858 00:39:52.458 --> 00:39:53.583 where is this going to go when he had 859 00:39:54.208 --> 00:39:58.291 and i will go in the dit's tent all the time you 860 00:39:58.291 --> 00:40:00.291 know i've been there with you when we talk about 861 00:40:00.375 --> 00:40:03.583 this stuff all the time and you're telling me well 862 00:40:03.583 --> 00:40:05.416 the dp really wanted to do this when i'm 863 00:40:05.416 --> 00:40:07.583 questioning something you know he's always he's you 864 00:40:07.583 --> 00:40:08.958 know so we have those conversations 865 00:40:09.416 --> 00:40:11.875 but it's really about the dp passes that onto the 866 00:40:11.875 --> 00:40:13.541 post and you know he does his 867 00:40:13.541 --> 00:40:16.708 luts and passes that on and that's where that goes 868 00:40:16.708 --> 00:40:21.041 but do uh dps talk about the fill and key ratios 869 00:40:21.583 --> 00:40:24.750 like a traditional like they traditionally did with 870 00:40:24.750 --> 00:40:27.458 film or is that no longer a necessary 871 00:40:27.750 --> 00:40:31.833 conversation so it's it's interesting that's a 872 00:40:31.833 --> 00:40:35.875 great question um so do the dps you know ask 873 00:40:35.875 --> 00:40:40.500 about fill and key um key and fill not as much 874 00:40:40.500 --> 00:40:43.875 anymore you know we don't we don't really worry 875 00:40:43.875 --> 00:40:50.000 about that with film um we we cared because all the 876 00:40:50.000 --> 00:40:52.541 the different types of film that you had 877 00:40:53.041 --> 00:40:56.000 had reacted differently to the light had different 878 00:40:56.000 --> 00:40:57.875 had different range ranges to them 879 00:40:57.958 --> 00:41:00.375 dynamic ranges to them and you had to know your 880 00:41:00.375 --> 00:41:03.625 stock to know what that range was not to put too 881 00:41:03.625 --> 00:41:06.416 much fill in and or to you needed more fill 882 00:41:06.416 --> 00:41:08.375 depending on the range of the film and yes 883 00:41:08.375 --> 00:41:12.375 the dps and i would have that they wanted a a two 884 00:41:12.375 --> 00:41:16.333 to one ratio or they wanted a three to one ratio 885 00:41:16.541 --> 00:41:18.708 you know even on a backlight they wanted to stop 886 00:41:18.708 --> 00:41:21.583 over then they're key so there was a formula 887 00:41:21.750 --> 00:41:25.166 you were giving given to do a lighting setup you 888 00:41:25.166 --> 00:41:28.875 know um nowadays you know since we got to the 889 00:41:28.875 --> 00:41:31.541 digital realm we're just looking at it you know so 890 00:41:31.541 --> 00:41:35.250 there is no conversation about the key and the 891 00:41:35.250 --> 00:41:36.958 fill we're just like can we bring in a little bit 892 00:41:36.958 --> 00:41:39.958 more fill or can we add a bounce card here and 893 00:41:40.333 --> 00:41:43.250 you know that's kind of where that goes now you 894 00:41:43.250 --> 00:41:45.875 know with the way we talk about it you know we 895 00:41:45.916 --> 00:41:51.791 i think just the whole idea of from under lighting 896 00:41:51.791 --> 00:41:53.583 putting a card from under and 897 00:41:53.666 --> 00:41:56.833 helping to lift up some of the shadows even with 898 00:41:56.833 --> 00:42:04.083 some some even with some makeup issues or you may 899 00:42:04.083 --> 00:42:07.041 even have some blemish problems in the face that 900 00:42:07.041 --> 00:42:08.291 you're trying to get 901 00:42:08.291 --> 00:42:10.541 around even if it's um a sports 902 00:42:10.708 --> 00:42:13.541 a sports celebrity right they are who they are you 903 00:42:13.541 --> 00:42:15.333 know so you're trying to make them to look 904 00:42:15.333 --> 00:42:18.833 the best that you can and you don't want to flat 905 00:42:18.833 --> 00:42:22.125 light them but you can come up from under with a 906 00:42:22.125 --> 00:42:24.875 light and help fill in some of those shadows that 907 00:42:24.875 --> 00:42:28.250 helps pull in some of the wrinkles and you know 908 00:42:29.166 --> 00:42:32.166 how is how to shoot and i am not going to name the 909 00:42:32.166 --> 00:42:36.250 person the the star but he was talking about 910 00:42:36.250 --> 00:42:38.375 the rolls in the back of his head because we were 911 00:42:38.375 --> 00:42:41.000 looking at it was a reverse shot back of his head 912 00:42:41.416 --> 00:42:44.583 and he didn't like the way the rolls in the back of 913 00:42:44.583 --> 00:42:47.000 his neck stood up and wanted to know what i 914 00:42:47.000 --> 00:42:49.875 could do to light like that and he kept talking 915 00:42:49.875 --> 00:42:52.833 about fashion lighting and i'm like okay so it 916 00:42:52.833 --> 00:42:54.958 was just a ring of light around it making it super 917 00:42:54.958 --> 00:42:57.166 flat and you couldn't see anything but 918 00:42:57.666 --> 00:43:00.750 you know those are some of the things that we do to 919 00:43:00.750 --> 00:43:05.666 help those those issues yeah even help 920 00:43:06.291 --> 00:43:08.333 make the people feel comfortable you know what we 921 00:43:08.333 --> 00:43:10.125 haven't talked about is like makeup and they're 922 00:43:10.125 --> 00:43:12.291 how important they are with a set you know because 923 00:43:12.291 --> 00:43:14.291 a good makeup artist is worth their weight and 924 00:43:14.291 --> 00:43:16.666 gold i think they're so underappreciated you know 925 00:43:16.666 --> 00:43:21.250 what they do um and and every once in a while i 926 00:43:21.250 --> 00:43:24.708 mean i'll go whisper in their ear you know i try 927 00:43:24.708 --> 00:43:26.625 not to make a point of something on a set or if 928 00:43:26.625 --> 00:43:29.166 i see something or if it's just a shiny nose or or 929 00:43:29.166 --> 00:43:31.041 whatever it is that they may need a touch up 930 00:43:31.166 --> 00:43:34.916 or there may be like an issue you know like can we 931 00:43:34.916 --> 00:43:36.875 do something about it and we look at the monitor 932 00:43:36.958 --> 00:43:40.750 and see and they're like oh that's how they are you 933 00:43:40.750 --> 00:43:43.125 know we and so we don't know if you can fix 934 00:43:43.125 --> 00:43:45.416 it but you know they are really worth their weight 935 00:43:45.416 --> 00:43:47.666 gold because when they get on the set you don't 936 00:43:47.666 --> 00:43:50.833 have to say anything it's it's it's a treat you 937 00:43:50.833 --> 00:43:55.333 know and i've seen some bad makeup. 938 00:43:55.541 --> 00:43:58.541 You've mentioned a couple times you've mentioned 939 00:43:58.541 --> 00:44:00.500 referencing the monitor while making decisions 940 00:44:00.500 --> 00:44:05.291 which monitor do you go to because not all monitors are 941 00:44:05.291 --> 00:44:07.791 calibrated like for example the first ac 942 00:44:08.375 --> 00:44:11.541 has his monitor cranked super crazy just so he can 943 00:44:11.541 --> 00:44:13.250 just look at focus and that's all he's 944 00:44:13.250 --> 00:44:15.291 concerned about and what it colors look like it 945 00:44:15.291 --> 00:44:17.750 doesn't matter right um and then a lot of 946 00:44:17.750 --> 00:44:20.541 monitors there there haven't been calibrated since 947 00:44:20.541 --> 00:44:23.000 they were first purchased um it's like so where do 948 00:44:23.000 --> 00:44:26.208 you go to make those decisions most of the time the 949 00:44:26.208 --> 00:44:29.166 only one i can get to is because everything 950 00:44:29.208 --> 00:44:32.083 moves so fast is the first ac's monitor i'll be 951 00:44:32.083 --> 00:44:34.291 over his shoulder and every once in a while 952 00:44:34.458 --> 00:44:36.583 i'll ask him to pull the detail out and he'll give 953 00:44:36.583 --> 00:44:38.208 me the look and i'll hang a can under 954 00:44:38.458 --> 00:44:42.083 understand and i'll put a quarter in it to make up 955 00:44:42.083 --> 00:44:45.833 for being a pain in the ass but you know i mean 956 00:44:45.833 --> 00:44:50.000 i'll literally will do that but um yeah or i'll go 957 00:44:50.000 --> 00:44:52.333 by i won't go by the client's monitor i try to stay 958 00:44:52.333 --> 00:44:55.541 away from the client unless i'm just i'll walk by 959 00:44:55.541 --> 00:44:57.000 every once in a while just see if everybody's 960 00:44:57.041 --> 00:44:59.375 happy and you know make sure their drinks are being 961 00:44:59.375 --> 00:45:01.583 served and all that kind of stuff but um 962 00:45:02.291 --> 00:45:06.125 i'll go i try to get to the dit's monitor you know 963 00:45:06.125 --> 00:45:09.250 as as much as i can if i can continually 964 00:45:09.333 --> 00:45:11.791 we'll walk away from set and go in there and check 965 00:45:11.791 --> 00:45:15.041 that monitor and what's going on or i'll 966 00:45:15.250 --> 00:45:17.666 something will have been shot and he's downloading 967 00:45:17.666 --> 00:45:20.208 it and like can we take a look at that right away 968 00:45:20.375 --> 00:45:24.375 you know just just wanted to check something and so 969 00:45:24.375 --> 00:45:26.875 yeah that's what i do you know it's it's all of 970 00:45:26.875 --> 00:45:29.500 them it's hard because they are all different 971 00:45:29.500 --> 00:45:31.708 monitors and what it got in my what am i looking 972 00:45:31.750 --> 00:45:34.666 at and you and i have gone through that too on set 973 00:45:34.666 --> 00:45:37.416 about okay Rich what am i looking at which one 974 00:45:37.416 --> 00:45:42.583 yeah well i mean i think it's um important for a 975 00:45:42.583 --> 00:45:44.458 lot of people who've never been on set 976 00:45:44.625 --> 00:45:47.791 to recognize that the change that the digital 977 00:45:47.791 --> 00:45:49.958 really is made you know back when you were 978 00:45:49.958 --> 00:45:53.708 shooting on film the dp and the gaffer pretty much 979 00:45:53.708 --> 00:45:56.458 knew what this was going to look like when 980 00:45:56.458 --> 00:45:58.625 that film was exposed properly or when it was you 981 00:45:58.625 --> 00:46:01.666 know processed and ready to see you know in dailies 982 00:46:01.666 --> 00:46:05.250 ou know for the next day nowadays it's 983 00:46:05.250 --> 00:46:07.416 everybody just send a signal to the monitor 984 00:46:07.583 --> 00:46:10.416 and everybody can see it and everybody has their 985 00:46:10.416 --> 00:46:13.000 input and it's definitely changed how production 986 00:46:13.333 --> 00:46:16.416 happens but you know again i don't think people 987 00:46:16.416 --> 00:46:19.291 realize how critical the viewing monitors on set 988 00:46:19.375 --> 00:46:21.750 actually are because major decisions are being 989 00:46:21.750 --> 00:46:26.250 driven by those oh 100% yeah I mean they used to 990 00:46:26.250 --> 00:46:30.416 be driven by those by those little single chip crt 991 00:46:30.416 --> 00:46:32.500 cameras that were on film cameras and they 992 00:46:32.500 --> 00:46:35.666 were making you know critical decisions based on 993 00:46:35.666 --> 00:46:37.958 that and would just drive you crazy like please 994 00:46:38.458 --> 00:46:41.416 look through the eyepiece just take a moment 995 00:46:41.416 --> 00:46:43.958 they're like oh yeah that way you know so yeah 996 00:46:44.125 --> 00:46:47.083 those yeah those those camera taps were was 997 00:46:47.083 --> 00:46:49.625 torturous you know to look at but you're right 998 00:46:49.625 --> 00:46:52.458 it's it's so many decisions are are made based on 999 00:46:52.458 --> 00:46:55.625 that and and even what the signal that is being 1000 00:46:55.750 --> 00:46:59.208 fed to the client monitors which aren't usually 1001 00:46:59.208 --> 00:47:02.250 studio grade monitors like you get in a dit booth 1002 00:47:02.250 --> 00:47:05.458 or you get even by you know the director's monitor 1003 00:47:05.458 --> 00:47:07.583 you know they're they're they're a better quality 1004 00:47:07.583 --> 00:47:10.333 of monitor and how many times are they bringing the 1005 00:47:10.333 --> 00:47:13.000 clients over to the director's monitor or even 1006 00:47:13.666 --> 00:47:18.291 the the client the client themselves like to the 1007 00:47:18.291 --> 00:47:21.000 dit booth and getting in the dark and looking at 1008 00:47:21.000 --> 00:47:22.916 it what it really looks like when you get in a dark 1009 00:47:22.916 --> 00:47:25.791 environment you know never they they try to 1010 00:47:25.791 --> 00:47:28.458 keep the clients away from the DIT as much as possible 1011 00:47:28.458 --> 00:47:31.875 yeah i don't blame them so i don't blame... for you 1012 00:47:32.208 --> 00:47:36.375 you too it definitely makes it my life much easier 1013 00:47:36.375 --> 00:47:38.041 when they're not around having to explain stuff 1014 00:47:38.041 --> 00:47:41.041 when you're on set and you're looking at a 1015 00:47:41.041 --> 00:47:43.708 reference monitor to see the lighting that's there 1016 00:47:43.708 --> 00:47:47.958 do you use the histograms or waveform monitors that 1017 00:47:47.958 --> 00:47:50.333 are on set or do you go by your light meters 1018 00:47:50.333 --> 00:47:54.458 what is it what's your your go-to trust tool the 1019 00:47:54.458 --> 00:47:58.625 monitor just the monitor nowadays it's the monitor 1020 00:47:58.875 --> 00:48:00.916 you know it's like you're getting a real-time look 1021 00:48:00.916 --> 00:48:03.541 at a piece of developed film you know so it's just 1022 00:48:04.000 --> 00:48:08.041 it really to look at the histogram where it's at 1023 00:48:08.041 --> 00:48:12.208 you know is is interesting sometimes to look 1024 00:48:12.208 --> 00:48:14.125 at that because you want to see sometimes if you're 1025 00:48:14.125 --> 00:48:16.666 looking at it is it really crushed that much and 1026 00:48:16.666 --> 00:48:20.208 where to but very rarely if the monitor is set up 1027 00:48:20.208 --> 00:48:22.958 properly and that's the other side of this coin 1028 00:48:23.000 --> 00:48:26.291 too right i think is more important is the monitor 1029 00:48:26.291 --> 00:48:29.458 setup which we haven't talked about on set you know 1030 00:48:29.958 --> 00:48:32.208 who's setting that monitor up and is it set up 1031 00:48:32.208 --> 00:48:34.875 properly that you're looking at you know just with 1032 00:48:34.875 --> 00:48:38.000 the brightnesses in the right place and you know 1033 00:48:38.000 --> 00:48:40.083 that the monitor is not crushed too much or is a 1034 00:48:40.083 --> 00:48:43.375 chroma cranked or you know that you set that 1035 00:48:43.375 --> 00:48:45.833 monitor that's the probably the biggest most 1036 00:48:45.875 --> 00:48:49.125 important thing that you're doing and even when 1037 00:48:49.125 --> 00:48:52.041 you're bouncing back between monitors did the AC 1038 00:48:52.208 --> 00:48:56.208 set both those monitors up you know and and the 1039 00:48:56.208 --> 00:48:58.291 good acs are really good about that so it doesn't 1040 00:48:58.291 --> 00:49:00.875 even become a question much anymore until it's just 1041 00:49:00.875 --> 00:49:05.166 blatantly wrong to you but pretty much yeah 1042 00:49:05.333 --> 00:49:08.166 i just look at the monitors because you can see 1043 00:49:08.166 --> 00:49:13.000 everything you know like so interesting i wanted 1044 00:49:13.000 --> 00:49:17.375 to kind of touch on a thing with um the new cameras 1045 00:49:17.375 --> 00:49:19.666 and how exciting it's been to work with those 1046 00:49:19.875 --> 00:49:22.250 you know we talked earlier about you could just do 1047 00:49:22.250 --> 00:49:24.625 these very subtle changes but you're looking 1048 00:49:24.708 --> 00:49:30.333 at the monitor and a DP will be looking at the 1049 00:49:30.333 --> 00:49:34.166 talent he'll be looking at the background i'm 1050 00:49:34.166 --> 00:49:36.333 really looking at the lighting so not just what's 1051 00:49:36.333 --> 00:49:37.416 on the talent but what's 1052 00:49:37.416 --> 00:49:38.875 happening in the background 1053 00:49:39.333 --> 00:49:42.125 there could be a chair in a room that's in the 1054 00:49:42.125 --> 00:49:47.208 corner i may take a little led panel put it on 1055 00:49:47.208 --> 00:49:51.000 the floor behind the chair and put this very gentle 1056 00:49:51.000 --> 00:49:53.958 glow onto the out of the wall behind the 1057 00:49:53.958 --> 00:49:57.791 chair it just helps separate that chair from the 1058 00:49:57.791 --> 00:50:00.833 wall i'm not lighting the wall or doing anything 1059 00:50:00.833 --> 00:50:03.250 and - i've been caught so many times 1060 00:50:03.250 --> 00:50:06.291 putting that light back there and the DP is like 1061 00:50:06.291 --> 00:50:08.583 what are you doing and i'm like i just was gonna 1062 00:50:08.583 --> 00:50:11.791 just bring this up a little bit and and he was 1063 00:50:11.791 --> 00:50:13.750 like on and i said trust me it's just going to be 1064 00:50:13.750 --> 00:50:15.958 this very gentle glow just take a quick look 1065 00:50:15.958 --> 00:50:17.750 if you don't like it i'll pull it out and i'll put 1066 00:50:17.750 --> 00:50:19.791 it and he goes oh no i do like that but it's just 1067 00:50:19.916 --> 00:50:22.875 it creates depth you know and helps you do that and 1068 00:50:22.875 --> 00:50:24.541 so that's some of those things that you know 1069 00:50:24.541 --> 00:50:28.166 i also do i'm always looking to try enhance what 1070 00:50:28.166 --> 00:50:29.625 they're maybe not thinking of because they got a 1071 00:50:29.625 --> 00:50:32.458 lot of things on their mind and a lot of times i'm 1072 00:50:32.458 --> 00:50:35.583 working with a DP director where they're not only 1073 00:50:35.583 --> 00:50:38.416 DP and they're directing too so that puts all the 1074 00:50:38.416 --> 00:50:40.791 lighting in your ballpark for them because their 1075 00:50:40.791 --> 00:50:43.958 mind is is into the performance and you know 1076 00:50:43.958 --> 00:50:47.375 everything else cause in not costume but wardrobe 1077 00:50:47.666 --> 00:50:51.208 and what's going on so all the other elements the 1078 00:50:51.208 --> 00:50:53.333 art department everything that goes into the image 1079 00:50:53.333 --> 00:50:56.166 itself yeah right right so that's what i pride 1080 00:50:56.166 --> 00:51:00.041 myself on is that i've just been able to you know 1081 00:51:01.000 --> 00:51:04.833 be a crucial part of that set and have input and 1082 00:51:04.833 --> 00:51:07.125 not just, "where do you want the couch, lady?" you know 1083 00:51:07.125 --> 00:51:11.583 kind of attitude to be involved right on lower 1084 00:51:11.583 --> 00:51:14.666 budget projects you tend to see a lot more 1085 00:51:14.875 --> 00:51:19.083 sharper shadows uh in the set a lot of times it's 1086 00:51:19.083 --> 00:51:21.583 due to just smaller spaces or stuff like that 1087 00:51:22.625 --> 00:51:25.625 how would you try to correct some of those images 1088 00:51:25.625 --> 00:51:27.708 to get a little more a little more 1089 00:51:27.708 --> 00:51:32.083 cinematic look to them well you can't use lights 1090 00:51:32.083 --> 00:51:34.875 directly you have to bounce them use them through 1091 00:51:34.875 --> 00:51:39.625 a bigger diffusion its shadows are all about the 1092 00:51:39.625 --> 00:51:41.875 softer the light the softer the shadow and 1093 00:51:42.875 --> 00:51:47.791 the larger the illuminated surface the softer the 1094 00:51:47.791 --> 00:51:50.208 light will be so if you just put a light up and 1095 00:51:50.208 --> 00:51:52.250 you don't put any diffusion even a four by four in 1096 00:51:52.250 --> 00:51:53.750 front of it you're going to get this hard sharp 1097 00:51:53.750 --> 00:51:56.416 shadow from it you know and there's no there's no 1098 00:51:56.416 --> 00:51:59.166 way around it so it's more about presenting the 1099 00:51:59.166 --> 00:52:01.583 light properly than it is just turning out a light 1100 00:52:01.583 --> 00:52:04.791 doing it so sometimes you know is it intentional 1101 00:52:04.791 --> 00:52:08.250 and if it's not intentional does a person really 1102 00:52:08.250 --> 00:52:10.125 know what they're doing you know with a low budget 1103 00:52:10.166 --> 00:52:13.000 project like that you know to get around some of 1104 00:52:13.000 --> 00:52:15.541 the low budget they don't have the grip supplies 1105 00:52:15.833 --> 00:52:17.833 you know they have a light but they don't have all 1106 00:52:17.833 --> 00:52:20.041 of the elements to do softening in front of it 1107 00:52:20.041 --> 00:52:22.833 but to me that's not always an excuse right because 1108 00:52:22.833 --> 00:52:24.833 you can use a bed sheet for a bounce 1109 00:52:25.500 --> 00:52:28.416 you know and use that to bounce into a create you 1110 00:52:28.416 --> 00:52:31.208 can shoot through a bed sheet you know to make 1111 00:52:31.250 --> 00:52:33.875 a softer light if you don't have that kind of stuff 1112 00:52:33.875 --> 00:52:35.541 you know you can hang it up on a clothes 1113 00:52:35.583 --> 00:52:38.291 line with clothespins for Christ's sake and do that 1114 00:52:38.291 --> 00:52:40.208 so it's not always about that I think 1115 00:52:42.458 --> 00:52:44.750 it's about being creative with your lighting and 1116 00:52:44.750 --> 00:52:47.500 not getting just caught up into the minutia 1117 00:52:47.833 --> 00:52:51.500 of what you see on set and what's going on it's 1118 00:52:51.500 --> 00:52:54.625 like adding that nd i you know people will look 1119 00:52:54.625 --> 00:52:57.916 at me like i'm crazy because i put an nd on a on a 1120 00:52:57.916 --> 00:53:01.875 on a led light you know but you know i want that 1121 00:53:01.875 --> 00:53:03.875 lower end i'm never going to use this thing at 100 1122 00:53:03.875 --> 00:53:06.416 you know give me the range out of that thing 1123 00:53:06.458 --> 00:53:09.166 so no but that's what you were saying it's it's you 1124 00:53:09.166 --> 00:53:11.625 know using those you don't have to have 1125 00:53:11.750 --> 00:53:14.875 you know four by fours or um you know sheets of 1126 00:53:14.875 --> 00:53:17.875 opal or you know different diffusions you know 1127 00:53:17.875 --> 00:53:20.166 12 by 12 diffusions about you there are creative 1128 00:53:20.166 --> 00:53:22.750 ways to do that well even to get softer light 1129 00:53:22.750 --> 00:53:26.125 you can take like in low budget circumstances um 1130 00:53:26.125 --> 00:53:28.791 i've given a couple classes for like film students 1131 00:53:29.125 --> 00:53:32.750 you know coming out not having a budget to do and 1132 00:53:32.750 --> 00:53:36.458 you know i'll start off in a dark classroom 1133 00:53:36.875 --> 00:53:39.875 and we'll just have all the blinds on the on the 1134 00:53:39.875 --> 00:53:42.333 windows closed and you know all everything all 1135 00:53:42.333 --> 00:53:45.583 closed up and there's no light in the room and i'll 1136 00:53:45.583 --> 00:53:48.625 go ahead and just open the one blind that's 1137 00:53:48.625 --> 00:53:50.875 like would be closer to camera and i was saying 1138 00:53:50.875 --> 00:53:53.041 there's your key light and i'll walk in with a 1139 00:53:53.041 --> 00:53:55.666 bounce card there's your fill you know then you 1140 00:53:55.666 --> 00:53:57.375 open up the back window and there's your back 1141 00:53:57.416 --> 00:54:00.375 light so being in a room and watching the time of 1142 00:54:00.375 --> 00:54:03.458 day and where you're at is is really crucial 1143 00:54:03.458 --> 00:54:06.083 for working in a low budget environment you can 1144 00:54:06.083 --> 00:54:09.125 take those clip-up lights that used to get with 1145 00:54:09.125 --> 00:54:11.875 the with the chrome rims on them and they got 1146 00:54:11.875 --> 00:54:14.458 little springs on them and you can just take 1147 00:54:14.541 --> 00:54:17.541 on a piece of plywood put six or nine of those up 1148 00:54:17.541 --> 00:54:20.375 and put light bulbs in and you've got a nice big 1149 00:54:20.375 --> 00:54:23.583 nine light you know take a piece of cardboard paint 1150 00:54:23.583 --> 00:54:25.791 out white and you got a bounce card you know so 1151 00:54:26.375 --> 00:54:31.000 there's so many ways to create tools with no money 1152 00:54:31.000 --> 00:54:34.083 to go in you know to a working environment 1153 00:54:34.208 --> 00:54:37.375 with and then if you have a little bit of money and 1154 00:54:37.375 --> 00:54:40.583 you can get more it's sometimes it's more about 1155 00:54:40.625 --> 00:54:44.708 getting one or two instruments that you really can 1156 00:54:44.708 --> 00:54:46.375 do and you can fill it up with homemade stuff 1157 00:54:46.875 --> 00:54:50.125 and getting a handful of grip equipment that you 1158 00:54:50.125 --> 00:54:51.875 can use to manipulate all your stuff 1159 00:54:52.625 --> 00:54:55.541 you could do a lot with that kind of china balls 1160 00:54:55.541 --> 00:54:59.000 china balls are insanely cool you know a lot of 1161 00:54:59.000 --> 00:55:01.083 things we shot were just with china balls and you 1162 00:55:01.083 --> 00:55:02.833 would just right give you just this beautiful 1163 00:55:02.875 --> 00:55:05.500 glow this is this nice warmth of a light you know 1164 00:55:05.500 --> 00:55:07.958 that uh it's hard to mimic otherwise right 1165 00:55:08.791 --> 00:55:12.375 i built these these gags that have three light 1166 00:55:12.375 --> 00:55:15.458 bulbs in them and i could put them on a flicker 1167 00:55:16.041 --> 00:55:18.833 flicker gag so three cords coming out it was on a 1168 00:55:18.833 --> 00:55:22.166 china ball rig and there would be three light 1169 00:55:22.166 --> 00:55:24.916 bulbs in a china ball and i could put them in a 1170 00:55:24.916 --> 00:55:26.916 flicker box and give this really beautiful 1171 00:55:27.875 --> 00:55:31.625 fire light to them you know where i did a beer 1172 00:55:31.625 --> 00:55:33.583 commercial and then we had a whole crowd of people 1173 00:55:33.583 --> 00:55:35.791 standing in front of a fireplace and you know 1174 00:55:35.791 --> 00:55:37.875 fireplace light doesn't give put off any light 1175 00:55:38.333 --> 00:55:40.750 so i literally took these china balls and i had 1176 00:55:40.750 --> 00:55:44.750 them in the room below the shot hidden behind a 1177 00:55:44.791 --> 00:55:48.333 coffee table or a group of people that i had them 1178 00:55:48.333 --> 00:55:51.583 on the ground and had them all on the same 1179 00:55:51.583 --> 00:55:54.583 flicker box and was able to create this beautiful 1180 00:55:54.583 --> 00:55:57.041 glow within the room that looked like it came from 1181 00:55:57.041 --> 00:56:01.708 the fireplace you know and it was it was it was a 1182 00:56:01.708 --> 00:56:04.541 beautiful fireplace but it was three bulbs in a 1183 00:56:04.541 --> 00:56:07.375 china ball you know you work all the time i've 1184 00:56:07.375 --> 00:56:09.250 built these cores i've 1185 00:56:09.250 --> 00:56:10.500 just taken ribbon and wrapped 1186 00:56:10.541 --> 00:56:13.250 it around a piece of plastic tubing and they were 1187 00:56:13.250 --> 00:56:16.083 bicolor put them in a china ball and i still use 1188 00:56:16.083 --> 00:56:19.208 those you know when we do walk & talks and i can 1189 00:56:19.208 --> 00:56:22.208 have somebody on a boom pole carry a china ball 1190 00:56:22.208 --> 00:56:25.333 and i can carry i can wirelessly do the intensity 1191 00:56:25.333 --> 00:56:27.666 and the color of them as they're walking through 1192 00:56:27.666 --> 00:56:32.333 like we'll do you know a family running through the 1193 00:56:32.333 --> 00:56:34.541 park and you know they're going through a 1194 00:56:34.541 --> 00:56:36.708 couple of different lighting environments so it 1195 00:56:36.708 --> 00:56:39.375 goes from cool to warm to cool again and you can 1196 00:56:39.416 --> 00:56:42.083 make those changes but it's a china pole and some 1197 00:56:42.083 --> 00:56:44.833 ribbon light you know it's a pretty simple gag 1198 00:56:45.500 --> 00:56:49.375 talk about why uh you guys are always swapping out 1199 00:56:49.375 --> 00:56:51.708 the practical lights in a room environment 1200 00:56:52.041 --> 00:56:55.166 because usually they're too bright is what is what 1201 00:56:55.166 --> 00:56:58.125 they are um so we'll put like maybe 40 watt 1202 00:56:58.208 --> 00:57:02.208 and they're too warm too so regular light bulbs and 1203 00:57:02.208 --> 00:57:04.416 so we go into this whole new world of like 1204 00:57:04.541 --> 00:57:09.000 leds and where they're at um so typically we're 1205 00:57:09.000 --> 00:57:11.708 changing practical bulbs out in a set 1206 00:57:12.125 --> 00:57:15.791 to get more control over them i like to use 1207 00:57:15.791 --> 00:57:18.750 probably the go-to is a 40 watt reveal which 1208 00:57:18.750 --> 00:57:21.583 has kind of got a blue tinge to it um and they 1209 00:57:21.583 --> 00:57:24.125 don't go so warm if you start dimming them down 1210 00:57:24.125 --> 00:57:26.541 just a little bit to get them into the range in the 1211 00:57:26.541 --> 00:57:28.458 past it could be like fluorescence you're 1212 00:57:28.458 --> 00:57:30.625 changing out just to get rid of the fluorescence 1213 00:57:30.625 --> 00:57:33.583 and creating a better environment you know even 1214 00:57:33.666 --> 00:57:35.583 today i think that's something we haven't talked 1215 00:57:35.583 --> 00:57:37.708 about if you don't kind of segue into something 1216 00:57:38.041 --> 00:57:39.833 you know you go into these environments and there's 1217 00:57:39.833 --> 00:57:42.000 still fluorescent lights that are being used in 1218 00:57:42.125 --> 00:57:45.208 commercial environments you know most of them are 1219 00:57:45.208 --> 00:57:49.375 leds and trying to do the reading of those lights 1220 00:57:49.375 --> 00:57:53.250 and are they proper can we put better leds in um 1221 00:57:53.250 --> 00:57:56.375 one quick fix that i do if 1222 00:57:56.375 --> 00:57:57.625 i walk into an environment 1223 00:57:58.125 --> 00:58:00.625 that i need to change fluorescence out and let's 1224 00:58:00.625 --> 00:58:05.750 just say it's less than 10 in the ceiling i'll walk 1225 00:58:05.750 --> 00:58:09.541 in there with a whole bunch of uh titan tubes and i 1226 00:58:09.541 --> 00:58:12.083 i have the titan tubes already rigged with zip 1227 00:58:12.083 --> 00:58:15.500 ties and magnets i open the fluorescent light put 1228 00:58:15.500 --> 00:58:17.375 the just with magnets put 1229 00:58:17.375 --> 00:58:18.208 them up in the fluorescent 1230 00:58:18.375 --> 00:58:21.083 light close it don't have to take anything out 1231 00:58:21.083 --> 00:58:23.333 don't have to do anything and then i have total 1232 00:58:23.416 --> 00:58:27.583 control i have color intensity over the whole thing 1233 00:58:27.583 --> 00:58:30.416 you know which works out really well and 1234 00:58:30.416 --> 00:58:32.125 even if you're in a room and you go to close-ups 1235 00:58:32.125 --> 00:58:34.166 and you're not seeing the ceiling and the dps like 1236 00:58:34.166 --> 00:58:37.375 can can i turn those three back out in the corner 1237 00:58:37.375 --> 00:58:40.583 just done they're gone you know and it's really 1238 00:58:40.583 --> 00:58:44.416 easy to give you control over that stuff so now we 1239 00:58:44.416 --> 00:58:46.916 have now we have leds that we put in those 1240 00:58:47.583 --> 00:58:51.291 um we change we change them out put leds regular 1241 00:58:51.291 --> 00:58:54.833 led practicals have been and i think aperture makes 1242 00:58:54.875 --> 00:58:58.583 a set there's a couple of manufacturers that make 1243 00:58:58.583 --> 00:59:01.666 led light bulbs that you can put in the lamps 1244 00:59:01.875 --> 00:59:06.583 and over your app have control of i i built my own 1245 00:59:06.583 --> 00:59:09.625 did the same thing wrapped a tube with color 1246 00:59:10.125 --> 00:59:14.916 um with bi-color ribbon and created what is a 1247 00:59:14.916 --> 00:59:19.583 hundred watt equivalent so now i have a full range 1248 00:59:19.875 --> 00:59:22.416 that i can go and it's daylight tungsten it's 1249 00:59:22.416 --> 00:59:26.000 bi-color and so now i can pick the color and the 1250 00:59:26.000 --> 00:59:28.333 intensity that i want for the environment sometimes 1251 00:59:28.333 --> 00:59:31.916 the the ones from the manufacturers 1252 00:59:32.041 --> 00:59:34.833 the kits with the six eight bulbs and um they're 1253 00:59:34.833 --> 00:59:37.166 just not bright enough you know it's usually 1254 00:59:37.291 --> 00:59:40.875 what we come in with. Just going back to you 1255 00:59:40.875 --> 00:59:43.458 saying about uh the lights a lot of modern 1256 00:59:43.458 --> 00:59:46.791 lights being controlled by on wi-fi off of an app 1257 00:59:46.791 --> 00:59:49.583 um i remember we were on set one time we were 1258 00:59:49.583 --> 00:59:52.750 shooting on a football field and you had on the 1259 00:59:52.750 --> 00:59:55.750 other side of the there had um you know 1260 00:59:56.041 --> 00:59:58.666 back lights lighting and they wanted to make 1261 00:59:58.666 --> 01:00:02.041 changes and normally before the wi-fi apps you'd 1262 01:00:02.041 --> 01:00:05.750 have grips standing there on radios waiting to you 1263 01:00:05.750 --> 01:00:07.625 know having to just sit there the entire shoot 1264 01:00:07.958 --> 01:00:10.416 just in case you needed to make a you know turn it 1265 01:00:10.416 --> 01:00:12.333 a couple degrees and now it's just 1266 01:00:12.708 --> 01:00:16.208 dial it up on your uh on your uh your ipad and uh 1267 01:00:16.208 --> 01:00:18.791 instantaneously changes it uh in a good 1268 01:00:18.791 --> 01:00:22.083 environment you got a quarter mile you know i'm on 1269 01:00:22.083 --> 01:00:24.291 the other side of the lake at universal you know 1270 01:00:24.625 --> 01:00:26.958 turning lights on and off that accent that whole 1271 01:00:26.958 --> 01:00:29.166 background of city walk and all that kind of stuff 1272 01:00:29.166 --> 01:00:30.916 i'm controlling it from the camera on the other 1273 01:00:30.916 --> 01:00:34.041 side of the lake you know it's amazing you know 1274 01:00:34.291 --> 01:00:38.333 wireless dmx has just changed you know they have 1275 01:00:38.333 --> 01:00:40.750 wireless dmx and then you have your app on your 1276 01:00:40.750 --> 01:00:43.541 phone so if you're doing bluetooth or wi-fi your 1277 01:00:43.541 --> 01:00:46.666 signal is not as great as doing wireless dmx which 1278 01:00:46.666 --> 01:00:49.375 is really a radio signal that's being broadcasted 1279 01:00:49.375 --> 01:00:53.708 you know a little bit more robust um and and 1280 01:00:54.708 --> 01:00:58.416 in kind of segwaying into how we control those you 1281 01:00:58.416 --> 01:01:00.291 know again i was talking to this young guy in 1282 01:01:00.291 --> 01:01:02.750 the shop and we were talking about the different 1283 01:01:02.750 --> 01:01:07.541 types of boards that you can use um i use dmx at 1284 01:01:07.541 --> 01:01:10.375 boards a lot they have like these 12 channel and 24 1285 01:01:10.375 --> 01:01:13.500 channel boards sometimes i'll use two 24 channel 1286 01:01:13.500 --> 01:01:17.583 boards instead of renting one big 24 channel 1287 01:01:17.583 --> 01:01:21.083 console i'll use two boards and it's kind of 1288 01:01:21.166 --> 01:01:23.416 cool because i can set them up to do different 1289 01:01:23.416 --> 01:01:25.666 things control different parts of the set 1290 01:01:25.875 --> 01:01:29.125 and i can stay organized that way um but what's 1291 01:01:29.125 --> 01:01:33.000 nice about those boards it's a little faders are 1292 01:01:33.000 --> 01:01:38.250 a little small but you get real time changes in the 1293 01:01:38.250 --> 01:01:40.333 lights when you do them sometimes if you're 1294 01:01:40.333 --> 01:01:43.416 on an app or your pad with luminaire or even 1295 01:01:43.416 --> 01:01:45.541 blackout and you're relying on a wi-fi signal 1296 01:01:45.875 --> 01:01:48.416 there can be some latencies that happen so you'll 1297 01:01:48.416 --> 01:01:50.833 make a change and then five or ten seconds 1298 01:01:50.958 --> 01:01:53.083 later that change finally happens or it could be 1299 01:01:53.083 --> 01:01:56.375 three i'll be making changes during a scene 1300 01:01:56.791 --> 01:02:00.666 if i see something is too bright i will just very 1301 01:02:00.666 --> 01:02:03.875 gradually and very slightly bring it down 1302 01:02:04.333 --> 01:02:07.875 to just make it real instead of the dp going oh you 1303 01:02:07.875 --> 01:02:10.000 know and having to stop and deal with it you 1304 01:02:10.000 --> 01:02:12.750 know i try to catch it before we get it what's and 1305 01:02:12.750 --> 01:02:16.000 that's what's really nice about being in a in a 1306 01:02:16.541 --> 01:02:19.708 dmx environment you can change it real time or rely 1307 01:02:19.708 --> 01:02:21.083 on it changing real time as 1308 01:02:21.333 --> 01:02:24.541 opposed to being in a wi-fi environment and is dmx 1309 01:02:24.541 --> 01:02:27.875 um specific to any particular brand or is it 1310 01:02:27.875 --> 01:02:32.083 more universal no dmx is just it's a it's a radio 1311 01:02:32.083 --> 01:02:34.375 protocol that's used in theater and 1312 01:02:34.541 --> 01:02:39.083 and bands everybody uses dmx it's digital i don't 1313 01:02:39.083 --> 01:02:40.750 even know what it stands for um 1314 01:02:40.791 --> 01:02:48.208 um it's either music or mixing for the m but it 1315 01:02:48.208 --> 01:02:51.583 yeah it's it's standard throughout all the 1316 01:02:51.583 --> 01:02:54.250 industries and we've kind of come to there used to 1317 01:02:54.250 --> 01:02:58.625 be two dmx well i think there's still two dmx 1318 01:02:58.625 --> 01:03:04.375 uh frequencies in the dmx environment however one 1319 01:03:04.375 --> 01:03:07.166 one is just used for broadway so they they have 1320 01:03:07.208 --> 01:03:11.833 their own proprietary dmx and you do get into 1321 01:03:11.833 --> 01:03:13.916 situations like in the parks if i'm in disney 1322 01:03:14.875 --> 01:03:17.041 there's a lot of crap going on frequency wise 1323 01:03:17.041 --> 01:03:20.333 within those parks sometimes it doesn't work 1324 01:03:20.708 --> 01:03:23.916 you know and again you got to be prepared for that 1325 01:03:23.916 --> 01:03:27.791 you know so um i'm always carrying around 1326 01:03:28.375 --> 01:03:30.291 usually when we're running in a park i got a wooden 1327 01:03:30.291 --> 01:03:32.500 box my lighting board i've got like some 1328 01:03:32.541 --> 01:03:36.375 lighting and the board and um i'll carry a couple 1329 01:03:36.375 --> 01:03:38.750 like three four hundred feet of dmx 1330 01:03:39.250 --> 01:03:41.875 so that i can just run it out to my lights from 1331 01:03:41.875 --> 01:03:44.375 right from the board immediately to 1332 01:03:44.791 --> 01:03:48.500 span a gap because something not responding right i 1333 01:03:48.500 --> 01:03:50.666 go to another part of yeah i go to another 1334 01:03:50.666 --> 01:03:52.375 part of the park and everything's perfect you know 1335 01:03:52.375 --> 01:03:56.125 so yeah so but you have to be able to react 1336 01:03:57.500 --> 01:03:59.708 yeah well again it's being prepared you know which 1337 01:03:59.708 --> 01:04:00.541 is part of being a professional 1338 01:04:00.708 --> 01:04:05.041 and it's interesting to see yeah this is you as you 1339 01:04:05.041 --> 01:04:07.583 know we've we've talked about how cameras 1340 01:04:07.583 --> 01:04:09.625 have changed over the past few years and now you 1341 01:04:09.625 --> 01:04:12.375 know the the the grip and lighting world is 1342 01:04:12.375 --> 01:04:15.833 changing and you know and as editors and colorists 1343 01:04:15.833 --> 01:04:18.416 you know our software and the tools we use are all 1344 01:04:18.416 --> 01:04:21.041 changing it's just how much the industry is 1345 01:04:21.041 --> 01:04:23.833 constantly upgrading and how fast the pace that 1346 01:04:23.916 --> 01:04:28.708 is you know it's hard to keep up with even the 1347 01:04:28.708 --> 01:04:31.000 technicians to keep up with the dmx 1348 01:04:31.666 --> 01:04:34.791 you know and every light works differently now they 1349 01:04:34.791 --> 01:04:37.416 have their own um they have their own 1350 01:04:37.500 --> 01:04:39.666 receivers in them you know you don't even have to 1351 01:04:39.666 --> 01:04:41.500 put a receiver on a light they usually come with 1352 01:04:41.500 --> 01:04:45.041 a receiver in the light and you have all these 1353 01:04:45.041 --> 01:04:48.208 different brands that have their own proprietary 1354 01:04:48.791 --> 01:04:52.875 website or their own proprietary control over an 1355 01:04:52.875 --> 01:04:56.500 instrument and what it makes it difficult to mix 1356 01:04:56.541 --> 01:04:59.791 brands you know because you can't get out because 1357 01:04:59.791 --> 01:05:03.833 everybody wants to use the app you use dmx 1358 01:05:04.041 --> 01:05:07.458 everybody lives in the same world so you can you 1359 01:05:07.458 --> 01:05:09.958 can bring all that together and i have talked to 1360 01:05:09.958 --> 01:05:11.791 people that says no i don't like using that because 1361 01:05:11.791 --> 01:05:13.125 then i can't use the app and i'm like 1362 01:05:13.625 --> 01:05:18.083 use dmx yeah and because access is so much more 1363 01:05:18.083 --> 01:05:22.541 yeah so before i let you go um i'd like you to 1364 01:05:22.625 --> 01:05:24.958 comment about this meme that i've been floating 1365 01:05:24.958 --> 01:05:26.666 around the internet for several years i'm going 1366 01:05:26.666 --> 01:05:29.208 to put up on the screen now so uh would you agree 1367 01:05:29.208 --> 01:05:34.708 with uh this statement oh yes probably 100 across 1368 01:05:34.791 --> 01:05:38.333 the board um yeah we went back to you know makeup 1369 01:05:38.333 --> 01:05:40.583 supplementing the lighting oh yeah of course they 1370 01:05:40.625 --> 01:05:42.875 do you know they're awesome can't say enough good 1371 01:05:42.875 --> 01:05:47.125 about them now producing puts food into the 1372 01:05:47.125 --> 01:05:49.500 lighting i think they put food onto the set so that 1373 01:05:49.500 --> 01:05:52.958 the grips can eat and not eat the teacher right 1374 01:05:53.583 --> 01:05:59.166 yes fed grips a happy grip so yep and without 1375 01:05:59.166 --> 01:06:03.041 without lights there is no film so we did i'm 1376 01:06:03.041 --> 01:06:05.750 just gonna tell a real quick story i was trying to 1377 01:06:05.750 --> 01:06:10.041 advertise first unit this is years and years 1378 01:06:10.041 --> 01:06:12.500 and years ago and there was an advertising team 1379 01:06:12.500 --> 01:06:14.833 that was local to tampa and there's these these 1380 01:06:14.833 --> 01:06:17.416 two guys were awesome they were just very creative 1381 01:06:17.416 --> 01:06:20.166 and they kept uh they 1382 01:06:20.166 --> 01:06:21.958 needed a place to shoot stills 1383 01:06:21.958 --> 01:06:24.875 at so they would come into you know our studio and 1384 01:06:24.875 --> 01:06:26.916 i just did a trade-off for some advertising 1385 01:06:27.666 --> 01:06:31.375 so they came up with this ad and it was a black 1386 01:06:31.375 --> 01:06:36.500 space with a dialogue bubble that said hey mikey 1387 01:06:36.541 --> 01:06:39.500 what you eating and it said light lighting makes 1388 01:06:39.500 --> 01:06:42.041 all the difference you know because it was just 1389 01:06:42.041 --> 01:06:45.000 this black space with a dialogue bubble and i don't 1390 01:06:45.000 --> 01:06:46.500 think what was it what was it cornflakes 1391 01:06:46.500 --> 01:06:48.458 what was mikey eating at the time but it was like 1392 01:06:48.458 --> 01:06:51.083 hey mikey what you you couldn't live cereal yeah 1393 01:06:51.416 --> 01:06:53.333 you couldn't see anything and underneath it said 1394 01:06:53.333 --> 01:06:54.833 lighting makes all the difference and i thought 1395 01:06:55.000 --> 01:06:57.666 well these guys are just freaking genius at what 1396 01:06:57.666 --> 01:07:01.375 they do excellent excellent well thank you so much 1397 01:07:01.416 --> 01:07:05.708 for taking the time to have this conversation and i 1398 01:07:05.708 --> 01:07:07.916 look forward to the next time we get to be on set 1399 01:07:07.916 --> 01:07:11.041 together yeah yeah thanks Rich thanks for having me 1400 01:07:11.041 --> 01:07:15.041 oh and thank you so much for the Mixing Light 1401 01:07:15.041 --> 01:07:17.416 community for watching this and if you have 1402 01:07:17.416 --> 01:07:20.250 questions please respond in the the box below 1403 01:07:20.291 --> 01:07:24.041 and i'll be i'll do my best to uh to reply or if 1404 01:07:24.041 --> 01:07:25.291 you have a question for Rick i'll have 1405 01:07:25.416 --> 01:07:28.000 ask him and see if i can have him reply all right 1406 01:07:28.000 --> 01:07:30.208 thank you for watching have a great day