Watch The Clips-Video
March 27, 2021
Lighting with Christian Epps, DP/Gaffer
CLIPS Video
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Video Notes
| Time | Description |
|---|---|
| 00:00 | Intro – John Simmons, ASC |
| 04:13 | Intro – Christian Epps |
| 05:22 | Question: Could you share with us an experience of doing remote lighting? Justin Davis, Gaffer |
| 16:18 | Question: Do you have a “Go To” package that if you get into a jam, you’re pretty much gonna be covered? |
| 19:46 | Question: What do you look for in a Gaffer? |
| 22:41 | Question: What questions should a Gaffer be asking? Especially when lighting for people with darker skin color? |
| 26:13 | Question: LEDs & skin tones? |
| 27:10 | Question (Live): How do you approach window lighting? Particularly when you have windows with shears on them? How do you balance that exposure with the interior as well as with the shears? |
| 31:41 | Question (Live): When do you know when you want to bounce, booklight, reflect, or diffuse? |
| 36:30 | Question: What does the expression “Light to the Stop” mean? |
| 40:11 | Question: How do you manage lighting for small space interiors? |
| 42:37 | Question (Live): When you have two extreme skin tones in a scene, how do you handle it (interior vs exterior)? |
| 45:21 | Question (Live): Do you feel like Tungsten fixtures (lights) are being phased out? |
| 52:17 | Question: Are you referring to “full spectrum” lighting? |
| 53:06 | Question (Live): Being a Black filmmaker, how do you navigate a “leadership” role, where you’re on set with people that don’t look like us? |
| 53:06 | Quote: “Nobody remembers the job. They remember what working with you on that job was like.” – John Simmons, ASC |
| 59:12 | Quote: “You’re auditioning for everyone in the room.” – Christian Epps, DP/Gaffer |
| 59:47 | Quote: “Every morning when I go to the set is my first day at work.” – John Simmons, ASC |
| 01:02:32 | Quote: “Everybody has something to offer.” – John Simmons, ASC |
| 01:03:12 | Question (Live): When you have a limited budget and resources, and all the levels for your scene are set where you want them, what can be done early during the setup to allow maximum flexibility for changes later, without compromising or completely changing how the scene is already lit? |
| 01:09:19 | Quote: “You have to show up with lot’s of different ideas in your head. You have to show up with flexibility. And, you have to show up with that wanting, with the desire to collaborate.” – Christian Epps, DP/Gaffer |
| 01:10:29 | Quote: “Showing up full of stuff to offer, technically and creatively, is important.” – Christian Epps, DP/Gaffer |
| 01:11:26 | Question (Live): How do you manage your team when some team members are questioning your qualifications? |
| 01:13:08 | Question (Live): How do you study light and where do you get your references from? |
| 01:22:34 | Question: How do you light different skin tones? |
| 01:27:54 | Question: Talk about the relationship with the (DIT). |
| 01:30:18 | Question: How do you charge a client? |
| 01:31:25 | Question: How do you approach lighting an office with low ceilings and the main characters have to do some walking? |
| 01:34:19 | Question: What makes you choose a certain diffusion material? |
| 01:35:15 | Quote: “Right now I don’t like HMIs on faces anymore.” – Christian Epps, DP/Gaffer |
| 01:35:36 | Christian’s Top 3 Tips |
| 01:38:18 | Managing ambient light. |
| 01:40:41 | Apps that tell us where the Sun is. |
| 01:45:08 | How to reach Christian Epps, DP/Gaffer or John Simmons, ASC. |
| 01:47:50 | Question: Can you give everybody a brief explanation of ‘Foot Candles’? |
| 01:51:31 | Question: What are some of your favorite L.A. rental houses? |
| 01:52:26 | Question: How do you match color sources and practicals? |
| 01:53:26 | Question: Do you have recommendations for bigger softer lights, like aperture 120D, for students on low budgets? |
| 01:55:53 | Working with the 1st AD. |
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