 Hey, what is up? My name is Rubidium. So much has changed in the film industry in the last couple of years. We have new lights, new lenses, new cameras, new post workflows and raw and lots. All this sort of stuff that was once really obscure has kind of gone mainstream and really transformed the way we tell stories. Something that doesn't get enough attention in my opinion is grip and new grip technologies, how you get these wonderful new LED lights, the places you want them and how much easier it is that you can manipulate lights and shade to tell the stories you want to tell. So many new things are on the market now that are really cool that went around a couple of years ago. So I wanted to take a look at what grip technologies out there that can help you make your movie in the time that you have with the money you have faster, cheaper, easier and better. First thing I want to look at was this thing that I call the clown arm because you can see on the side of it has this amazing clown face. It essentially goes on top of a sea stand and gives you seven, eight and nine feet in some cases of extension so that you can get lights up really high or really far from where the sea stand is. It's sort of like the Avenger arm or there's a bunch more on the market. It costs thousands and thousands of dollars. This one is like a hundred bucks in change and it's really powerful where you see here. I'm combining it with this large LED mat and using the arm to get up out and over talent where you can shoot 360 and still not really see the stand scenes where you want to move the camera around since we want to do strong overhead lighting or even staging two actors either side of this light so they both get a cool, cool front light and you can do long takes without having to reset between turning around. So if you come from a film industry background and you only use sea stands, large and small, you might not know that there are a whole range of these really awesome lighting stands that are light that are self-balanced, both large and small. You can pick up with one hand. You don't really need to stand bag because they're not that uneven. I have this, these great RGB color Yognio lights that screw right on top of these small light stands and I always have a couple of them standing by when I'm shooting a commercial because it always helps to bring in a three-quarter kicker or being an extra hair light and they're battery powered. You don't need to be like running dragging cables around. You can just sort of put them and place them down where you need them. If you want a bigger option, you can go with a four-foot quasi-tube and I use the bongo ties to attach them to the same kind of stand. And again, you just get this beautiful four-foot dimmable source of hard light that you can bring in as a scratch. You can bring in as a three-quarter back. You can bring in as an eye light if you want it. Give a cool kind of cat's eye through the middle of the person's face. But again, it's just so, so much easier than, you know, bringing in a tungsten source and diffusing it through a second sort of things and dimming it down and running power. Like this just lets you move so much faster as a film crew. I have this great little 10-inch, very powerful, battery-powered LED called the cello. It's much more powerful than the Yognio lights. It is more expensive, but I put it on this sort of small stand and I just use it to add washes of color to the room behind or the room next door and really, you know, paint with color. And again, totally self-contained, battery-powered. You can just move this thing around. This is something that I picked up a while ago called the CC125 adjustable gaffer clamp. You have to really do your grip training to be able to open this thing. Like a normal sort of quacker, it has these cool rubberized teeth that let it get a really good grip. And it's also adjustable so that once you open it, you can adjust the bite with this second dial. I use it for shooting in confined spaces. I'm able to throw this on top of a door and then use the two potential matte points to put up lights. It'll even hold the weight of a Kino Freestyle 20 if you take the ballast off. But I like using it with larger, lighter lights like my Lightmat 2L or this Intellitec LC120 essentially gives you a roof of lighting without having to actually drill into the roof if you're shooting on location or you don't want to mess with things. If you watch this channel, you probably know that I'm a huge fan of the Magic arm or the Friction arm. They're about, they're only about this long, but I'm using one right now to hold up my light. I realized recently that there is the next level of these things. They can only get so long before the friction starts to make them fall over. But there's this thing called the double articulated arm made by Impact, which sort of is as long as a real arm. And they get around the friction by having sort of like two two bones going all the way through like the radius and the ulnar in your own arm. And it works absolutely amazingly. It can do things that the friction arm can't like mitigate its distance like slide in and out. I'm using it for the microphone on this stand right now. I'm also using it for extending the clown arm to get lights into really weird and hard to get places. It actually has a huge capacity. It holds a lot and it stays there kind of like locks in. I hope that we see more of these smaller bigger ones because it's a really cool technology. My last creation is this thing that I called the angle bounce. It's a Lupo Super Panel one by one on a short C stand, this kind of mini C stand that Impact sells. And then I rig it up as a bounce to a big two by four or four by four ultra bounce from, well, I say ultra bounce, but I really just mean a stippled reflector that you can get from Home Depot for 10 bucks. And this works great as a way of creating a large soft source that is all on one stand. I don't have to create a light source on one stand and then diffusion on a second stand. I can basically keep it all on one thing. So then my new rules of grip I like to call them. They're just some fun stuff that I've discovered as I've been shooting projects that certainly you won't find in the union manual for grip. I'm sure people have come up with them before, but I really love working like this. It's like the grip and lighting and camera is all like a great big play set for me. And I love inventing new ways to create light and diffuse light and, you know, basically get more out of less. Thanks very much for watching guys. Let me know what you think in the comments. Subscribe if you want more of these videos. I really appreciate you watching. I will see you next time.