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 lights. 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. The first thing I wanted 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 C stand and gives you seven, eight, nine feet in some cases of extension so that you can get lights up really high or really far from where the C 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 through 60 and still not really see the stand. Scenes where you want to move the camera around, scenes where you 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 C 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 sandbag because they're not that uneven. I have this, these great RGB color, young new 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 their battery powered. You don't need to be like running dragging cables around. You can just sort of put them in place them down where you need them. If you want a bigger option, you can go with a forefoot quasar tube and I use the bongo ties to attach them to the same kind of stand. And again, you just get this beautiful, forefoot dimmable source of hard light that you can bring in as a scratch, you can bring it as a three quarter back. You can bring in as an highlight if you want it, give a cool kind of cat-side through the middle of the person's face. But again, it's just so so much easier than 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 young new 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. Really 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 and confined spaces. I'm able to throw this on top of a door and then use the two potential mount 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 IntelliTech 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 only about this long but I'm using one right now to hold up my light. I've 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 is as long as a real arm. And they get around the friction by having sort of like two bones going all the way through like the radius in the Eleanor 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. And 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 the smaller bigger ones because it's a really cool technology. My last creation is this thing that I call the angle bounce. It's a lupus super panel one by one on a short C-stand. This kind of mini C-stand that impact cells. And then I rig it up as a bounce to a big 2x4 or 4x4 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 basically getting 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.