Welcome to the Crimson Engine. My name is Robitiam. Very often in filmmaking you want to get your lights as close to your actor as possible. You get the right exposure, you get a nice soft light, but that can sometimes be hard. Maybe because the actor's moving, maybe because the constraints of the space. So what we're looking at today is how to get your lights exactly where you want them and not be constrained by the environment you're shooting in. So here I am in my studio. If we zoom out a little to the maximum of the lens, you'll see that, well apart from my backlight, there are no stands anywhere. That's because I've read the lights today from the roof. What I've done is use a product from impact called Veripol. It is a system that's actually intended to rig seamless where you don't want to nail into the wall. So what it consists of is two long pieces of pole joined in the middle by this sort of clamp thing. And what you do is you extend the pole to the ceiling and then pull down the crank and it separates by another, you know, you guys have it by an inch or by about two and a half inches. And then that locks the pole in place. Now that is also for hanging seamless. But what I worked out is that you could also use it as what's called a wall spreader. A wall spreader in grip terms is usually a two by four or a four by four and a whole bunch of complicated things where people mount a two by four on against the two walls. But you have to cut the wood to the right angle. It's maybe a two or three person job. But it gives you a nice stable basis to read from. With this Veripol, you can do that with, you're still only two people, but you can do it in a couple of seconds. And that gives you all sorts of attachments to, we have the mic mounted on it. We have a couple of different lights mounted on it. The capacity of the Veripol is much less. You're not going to be rigging your sky panel S360 from Veripol. But it does let you put lighter lights like I have the Quasar T8 here. You could also do something like an IntelliTek Lightcloth 50 or even a Lightcloth 100 since they're very light fixtures or units. And you can then run a long cable and put the ballast somewhere else. This, the Veripol isn't, doesn't bear much weight. You can, it really shakes easily, especially over long distances. But if you anchor it like we did on the door frame and on another wall, it has these high grip. They're not suction cups, but they're sort of like tension mounts on either end that stick into the wall. And as you crank the Veripol open, you get really good hold. I mean, it actually bowed the wall out a little bit. So it's a good idea to find if you can where the stud is in the wall so that you're not risking the cracking the wall as you crank the Veripol open. The company that make the Veripol impact also make a bunch of stuff that's actually quite useful to use with it. This is the double super clamp. So it's a super clamp that comes at a right angle. So what I do is, if I want to add extra support to the horizontal Veripol, I can actually add a piece of vertical Veripol and clamp it to the horizontal one to support it with the super clamps. I'm mounting the T8 to the Veripol with a jaw clamp, again from impact, and into the receiver to hold the T8 is a thing called a small clip clamp. There has like a rubberized duck bill. You can also use super clamps. They work great. Anything with a wide enough span that will clamp down hard enough will let you pretty much do what you want. You could also add, and something I'm going to experiment with, is adding two horizontal Veripols and then just balancing or bongo tying fluorescent fixtures between them so you get like an entire roof of light. I think the system opens up a huge amount of possibilities for getting lights anywhere you want. Get a rid of stands from random actors giving them much more freedom to move, opening up your possibilities for blocking. I mean, this is a really cool system. All the links to this stuff is in the description. Leave your questions in the comments and I'll see you next time.