 Welcome to Send Lighting. My name is Daniel Himo, director, cinematographer, and colorist. And today we'll be looking at this frame. Okay, and I'll break down the frame and we'll discuss how the frame was made. So first and first, behind the female talent in the bathroom towards the closet side, we had like a 300 that created a bounce which we actually skipped down and flagged off using the architecture fittings of the place that helped cut the light and actually brought it to the lower part where you could see the light behind her that's behind the potted plants. From the right side of the frame, we had a 1.2K HMI that was coming through an ended glass that was already tinted that had, that would not have to gel to sodium vapor. Then we used the share cutting to fade it off the bedsheet to some point where you could easily see the directional strip of the light towards the talent that didn't get up in space. Above the talent, we had small units of LEDs that had cold temperatures that were close to 6000K. They actually was directly lighting the male talent at the bed and the practical lamp was also beside him for the practical warmth feel and also adding to the entire frame. Behind the camera towards just by the side of the camera, we actually made a bounce source to open up the ambience of the room and bring up the levels of the ambience in the room and we staged the camera in such a way it was angled towards the mirror to use the mirror to create depth which you could now see the artwork that is presently obscured by the lamp in the frame which is obviously more visible in the mirror to act as a set extension to create depth of the frame and this was how we were able to achieve this scene of the light in this scene. So presently we just have three lights the 315 bathroom opening, the 1.2K outside with the sodium vapor gel that was coming in through from the balcony with the warmth feel and we opened up just by the side of the camera there was a warm source just to bring up the ambience of the room and the spot LEDs that was looking down at 6000K to create color contrast and that's how we actually shot the entire scene of this film in addition to what we did in this frame we tried to avoid having saucy source because we were surrounded by white walls so any kind of specular light or very hot spots would actually blow out the white walls already so it was our best option and best call to go with more diffused source to make it not actually saucy so we were there but we were not there and if you get what I mean that way we were able to keep the white walls level to a minimum able to create color contrast within the frame use the mirror to be able to achieve depth in our shot and we were able to like achieve the entire mode you could actually see in the frame so yeah, that's all we did until next time, improvise, adapt