 Hello and welcome to Cinelighting. My name is Daniel Hime, Director of DP and Colorist, and Frestin's Fest, from the night of March to the 11th of March, I'll be holding a workshop in Canno for directors and photographers, and we'll be having a workflow session, where I will take the entry levels of Canon cameras and actually put them to the pace for those of you who've been introducing yourself into the cinema world, and where we'll talk documentary approach, advert approach, your day-to-day interviews, and most of the things you'll, even in YouTube videos, like the one I'm making, you get, how to go about it, how to light it, and how to maximize the full potential of the camera. If you do know anybody that stays in the knot, and if you do know anybody that lives in the knot, please share this video with them from the night to the 11th, we'll be there in March for those three days where we'll have hands-on. So the good people at Canno have been kind enough to throw in bonus packages that have been discounted for this workshop, which is a C100 Mk2 with a free 4K monitor, and also a hard protective case. Also there are several offerings among the US in my lineup, but you would have to come there and pass in to discuss with the Canon rep that'll be on site to give you access to those discounts, which will not be available to those who will not be attending the workshop. So I highly urge you to, in the best of interests, show up, maximize the opportunity, cash in on those discounts, and move up the ladder in your cinema world, because guess what? To charge premium, you must be able to create premium, and to be able to create premium, you have to learn how to create premium, which is what this is all about, giving back and making sure the entire community of the Nigerian Norton Cinematic Industry grew up. So this will be a humble contribution into your growth, and we look forward to you maximizing such opportunities and maximizing all the deals that will be available on the day, and taking that on. So now on to the real business of the day. So we're looking at two scenes where we'll be exploring urban lighting. The first one was the same, which we actually lit on the pool, which was the two shot, and the challenges with this shot was because the pool had a deck in, so it eliminated all options of creating moonlight without a rigging out of taking so long. So what we did was we had the warm sauce, which was a tungsten 1K that had CTS on it, and we cross-lit it with, on the other side, from the Italian side, which was frontal kill. We had the 2.5 HMI that would actually diffuse through a full grid that actually filled in the active phase. Then we actually threw two 1.2K HMIs into the pool that created the shimmering reflection, and that's how we captured the dialogue of that scene. We went for the close-up to get all the other close-ups to make up the entire couple, but this was the primary setup that actually lit the scene for the entire piece. For the second scene, we had a dining scene where we had sodium vapor that was coming from the right side of the talent. Sodium vapor is a gel which you put in front of a warm sauce that could convert the temperature to make it look like those electric lamps that you have at night, when you're passing Theadmilland or any of those highways that have this warm streetlight sauce. So we gel the right side of the frame with sodium vapor, and we maintained the CT as it was coming through a 1K, which lowered the color temperature of the light, and we filled the front with that 2.5 HMI, but this time through a double full grid diffusion, so it's not saucy, and it filled into the shadows quite nicely, and why both sides were creating this hard sauce, I could say, by the leaves edging the wall. This way, we were able to create a surreal urban environment whereby the conversation happened for the wide shot, then we moved in for the close-ups to actually complete the coverage of the entire scene. So I hope some of these tips and tricks, you could take them and put them in your shot movie or something you're doing. If you have any questions, please leave a comment below. I'll look forward to chatting with you on other possibilities on what you would like to explore. So utilizing cross-lighting key and using the available light sauce we had, which was at the time HMI 2.5K, fulfilled this maybe something else for you, depending on what's in your light package, we were able to modify the ambient environment to suit this urban sodium vapor vibe. I mind every time I say sodium vapor, it references those warm street lights you have across the road and the normal setting you would know. So this was also mimicking the reality of what would happen in the street. Sometimes that's what you go for, sometimes you create a surreal world, but both times it depends on the version of the script you're doing, the scene, the motion of the scene, or what the director's vision is. All this combination makes up your judgment call for what goes where. So this is not like a standing formula for, oh okay, whenever it's night, this is how I should go about it. But this is all dependent on the story and all these choices are story driven. So going forward in your own project, I would like you to also employ these choices and see how they could story assist you. And if this video has been helpful to you in any way, please leave it a thumbs up and hit the like button. And to see more of this, please follow and subscribe. And I look forward to your feedbacks on what you think or what you think we should have explored more that we didn't explore in this video. I look forward to learning from you as opposed to getting challenged by you to grow up more. So until next time, improvise, adapt, and overcome.