 Hi, so this is the thought and final part of the director's guide from treatment to delivery on the YouTube commercial made for you We'll be going to more technical specifications and it's gonna be like a collaborative approach myself and my gaffer who's gonna be like co-chairing in the technical specification on the exact fixtures and Designs and levels and why we get like talk about the conversations and everything that led to the final output of the frame Without further ado. Let's hit it this was about around 8 in the morning and This that you have here This day you have here was not actually the sun because we had like an overcast day. So we had to like use a interesting sauce Which my gaffer collaborated details in that that was actually pushing from behind her that was actually sending in to actually hit the wall and We had another key light that was coming in to create this wrap you get that was actually like lighting the whole of the face here and This was very useful to us because it gave us like the entire big catch lights and everything that was actually coming up to create a little bit of interest there was like a different sauce that we had here and that actually helped in giving texture to the hair and Bringing out the entire surface that was actually coming out. We did had some extra feel that was If we actually get like that came from this side Right to just like raise up the levels because we are working on beauty in the beauty space So that was levels. We're supposed to like bring up. It was not dramatic So usually our contrast ratio would have gone really more darker like a three to one or like a four to one But that was not the case in this approach because most of it was like feel good Average people no classiness actually do a bit classy Just making it a lot more decent you get in the space of realism and relatability you get So if you look at the wardrobe, they are designed Nothing over the top. These are not like the kind of people who would want a Tesla but the great average people relatable people that could Fitting to this universe that we're creating hence the entire elements you get the Color codes around them. We had like the flesh tones around the wall We had like the purple that to contrast to make the character pop out of the entire space We had like the dark fabric which you can see on the bed which Helped to like if you look at the bed beats here that would enable us to be able to knock down We are your eye interest go to when your eyes see the frame So when you actually get to like see the move when it comes in there's like a pullout comes in and you like Get all this revealed by your eyes to get like Be stuck on the character with no power windows and all of this This was like some of the things we're hoping to achieve when we're creating this frame putting the person a very Contemporary Relatable modern world that we could also relate to and this is where my gaffer will now tell the exact Fixtures and most of the behind the scenes that you will see over to him. Hello. My name is a more tired. I'm a gaffer This is the setup As you can see the room is a highly room already So I need a strong key to come into this room So first thing I do is I bring in my v-flats with the 1.2 nalox to create a strong source inside the room already So with that and I do a four by four mass lights and to create a hedge for her We separate her away from the wall and as you can see there's a floppy here The floppy is trying to cover the escape bounds as bouncing on the silly which the baseball is holding behind the baseball as you can see there's a Frozen 500 behind him with the 36 degree lens in front of it That is what I simulate the gobo that I can send the main frame as you can see There's another one foot light in front of it one foot with full grids in front of it a one foot mass light with full grid in front of it just to create the beauty of her beside the Phone which is on this other side of it as you can see the small top light of like a one-two foot light On top of her which create the hedge over away from the wall and as you can notice there's a lamp here Which is just just a 32 Calvin Bob it's inside the light and the particle lamp so far so good This is how we achieve this thing that you see here now this one was already done at the end of the day and This was like the 24th hour because we had like a 6 a.m. Call time and we're up to about 6 a.m. That was like 24. I actually said was 18 in my other so it but yeah 24 Sorry my matters, but this was just a Simple setup that we had to do because we actually push in using the shares to be able to create diffusion But there was like an extra Diffusion that was outside that was actually bringing in the light levels. That was bringing the levels that we actually listen to key The talent we had like an m40 that was coming in from it that pushed into like an opal sauce So we had like another opal that was actually Creating like a diffusion that before it actually now lit the entire shares So we had like a double layer kind of situation of diffusion that happened With the entire scenario and this actually now Landed on his face. So we had shares bonjit up to be able to create Varying texture flight to simulate the presence of the and how light scatters due to the intense Quality something we could have done right though was if we had there's this new ultra bounce That's created by a company. I've forgotten your name But they have like this layers of the blue in the sky the green and the grass or the concrete jungles just like different That's like an ultra bounce. So when you bounce into that It almost feels like what will happen in the sky because the sky has like some interest of cold light Concrete you'd have like your gray tinted with some kind of brown Then if you have foliage you have that green and that would give us like some kind of cool reflections That would be something that would have loved to experiment But not something that would afforded global that would have led to be somewhere on the top of his face around here You probably see like that kind of blue the bluish and reflection With some neutral tones and maybe some green in the shadows And that's how that would have played out in this bear Not in this case though, but this is just like a straight quick close-up for like some quick show You could see some of the hard patches coming into the face if you actually get to look at This frame where you actually get to see it here. It's creeping up there. You get to see how it creeps up To some of these chicks those are like leaks when he like goes in and out and helps sell the Belivability of This was shot in there and just more interesting because it was a medium shot So there's not really much to do. There's like another bounce coming in that was like taking the entire feel that we got from What we had already and that was like kicking it back into his shadow side You get to be able to lift up the level so you don't have like this kind of stack contracts for you get The next shot. So for this shot This was now more of the interesting ones whereby we had to create like this kind of urban environment like cool kids bar you get not like the loudest of Luxuriousness, but just cool enough and it was like a mixed temperature light kelvin ish and we had to build like a huge wall of wrap That would actually like create like this entire Big wrap space that would actually like cover him here. So for that we had to like create like larger sources that would actually come in from The side of the frame that would actually You say from the hind of his ears to the front is front of the eye side of him to like an Extra frontal from under the chain to just like create all of this you get and in contrast we had to like connect this other tone that was coming in from the background right and have that same tone connect to like him here and this would actually create the illusion of He's within the same environment. He's probably it by some kind of large Practical tungsten sauce that is probably probably a big lamp or some kind of chandelier that's come from like a top mimicking directionality contrast with some Cyan tones that's actually giving all the steel blue coldness That's not giving the pollution you can see in the skin from the other side of the frame and all of this would give not Technically pull up the entire skin tone, but give way to like a whole new space for some new child to wear by some of the skin tones He gets like come in clean and clear like you can see here and like not obviously Distracting from everything that's there you get but also Pain true intent. So this was a bit more stylized than usual Align the shadows fall into like the four stops you get like you can see all here like going really stuck deep into the shadows there and more creamy and saucy on the On the other side of the frame so all of this is what happened here and It was quite fun and interesting to be able to like put this together Yeah, as you can see There's a big four by four mass light here, which is assimilating the two windows Which is the natural big daylight that come from the window, which is the giant sauce As you can see there's a little bit like a two feet mass light coming from the top Which is like the general ambience, which is the top light as a hand in the guy There's another backlight behind him You can see a one foot mass light behind him Which is what is edging the guy out of from the flower behind him You can notice there's a corridor by the corner This corridor is lit with a sea and blue two blight two blight is put on a sea and blue Yeah, you can see this the few on the main thing and the next one Now this was quite more fun because on this shot It was one of the ones we had bring faggot This was at about 6 30 in the day. We've already lost the Sun Sky horizons were gone because the Sun wasn't somewhere to give an idea The Sun was somewhere here behind the building right and we had to make the Sun because there's coming from here and Coming from here. So we had fixtures here does on some kind of mega boom here There's that's the mega boom that you can see in there Pushing out some level and there's like another fixed job kicking out some level They were like Nanlux beats, but we also needed to be able to like kick some of those levels to create some kind of skip bounce, right and There was something coming in from here That was actually you can see it somewhere on the side of the face and There was another Big sauce which is also creating this wrap as though illusions from here Which is off the side of the screen you get like a very like a four by four sauce of the side of screen I was actually not coming like to like bring that up here and With haze everything looks magical so a little bit of Interesting good bit of haze and it all comes out amazing and the shot end up looking like a Pushing reveal you get they get like see more of the world and that was it for this bit and Over to him now Yeah, um, this is the tossing as you can see is a beatifications in as you can see there's a strong beam on the floor Which is the 1.2 nanolux Nanlite and the other window there's a 720 Nanlite there so which is the strong beam that's coming from the other side as you can see you can notice a little blue from this side which is the skip bounce from This light as bouncing on the floor with a mirror bulge But you can notice the atmosphere is a little bit cloudy That means there's a smoke machine around the corner that make it look more beautiful You can notice the guy standing on the other corner of this the guy is only four by four months lights Which is the light I used to wrap up their face now to the? next shot, so we had like the whole Slowly vertically tilting off why he does all this beats and Simultaneously he also goes to like check what's in the gas you get this was there's a take for it You get way checks this bear It never made it in just a little bit of a vertical move That was actually now crop based on split-screen edit you get was the one that actually made in so he was like watching from the Tap and this was around 8 p.m. Dead Knight already and Everything was pitch black like zero pitch black and it was like how do we get to do a lot of things? I'll sell this asset late morning, so We brought in some high-fired power into the house you get this is where some of the big guns we're began to roll in and part of lighting space was also created the ambience because literally when light comes when the Sun comes into a room a lot of the skip bounce skip from different corners reflections and actually create the entire believability of what's actually a Day ambience would be and to be able to recreate that right some of those things we had to take into account So one of the things was we so we had like a six-bar maxi roots, right? And they're like six bobs in it. That was pushing through the window, right? That's what you're seeing there This wall here if we go to this wall hold up a bit So just like actually get this right of this wall here That was not this light and it was not another light. We had like another window off-screen, but that couldn't give us this hot sauce so we actually had like a Nanlux fixed job that was actually on a On a 19 degree lens to be able to get that intensity we bladed in to have like the square shaped and Like nook that entire corner so that we'll be able to get like this whole hotness That will create this key reflection on this side of his face has given us like the far side key And that was was beginning to like solve the rap and the believability of it Then we had like a giant overhead of like a 600 watt that was also coming into the space from On the side of the room too, but this time it was on another like mega boom arm and It actually came in to like give us like this entire wrap. That's actually like layering the entire body here and that actually Sells more of the feel to reduce the entire stack contrast ratio because if we look towards the camera There's a lot that's dark like when you actually look at the level students see more of it That was actually that is when you see like what's happening here That's what tell you like how dark the day was like that's how that pitch deck it was so Bringing up those bounce and feel towards camera Give us like a lot of room to be able to now like okay put the camera at the dark side of the room and be able to like see from the darkness into the light and have this various light and Contrast levels to be able to like achieve most of this and the steam was just nice to create interest because The fact that we had this whole hot sauce in the frame here Right the fact that we had that there what that did for us. It that it enables Whatever steam that came out of the pot to be able to create some kind of visual interest of haze and just made a little bit More cool you get what could have done better though Was to probably add another layers of share in front of this cutting or something or probably a an opal diffusion In front of this window here to be able to like just Roll up the highlight a little bit pleasantly So this is like hindsight because sometimes you review your works and see okay Where did I take a bit a little bit of miss you get? sometimes could be true crunch of time pressure sometimes no one time to be able to like because This is a lot more better than you've got the perfect shot, but you could not complete the commercial you get so Complete work always trumps the perfect work perfection is the enemy of progress But which is why you always go back you optimize look at where you made some mistakes and see how you can like push that for so the in this same kitchen We Split it up and leave this same scene This was like the other side of the kitchen would just like repurpose and recondition it My gaffas gonna like give you all the ones and zeros you get and fixtures and specification But the same concept applied which was bringing in a huge source from what we could see to sell the ambience parts which you can see that's happening with this window here and Maintaining what the skip bounce would do what will happen the day if that happened if you look at here You can see under her chain somewhere around here all those levels where they are coming from You can see another top level there to where it's also coming from if you look at two words Her right side is like some hot reflection that's skipping off from the floor you get those is actually That's actually lights us that's actually coming from A fixture that we had placed there that skipped off the floor and actually like Create those kind of levels for us you get to be able to sell the illusion But this was a lot more frontal because we had like a huge push coming from directly the opposite had I was like that generated more of this Environmental feel you get and this was what we did you get something that would have been interesting was if we were able to Take down this front level maybe like a tad of a stop down so it's not as prominent as it is that would have been like really great So so that we would like sell more of it to have been a lot more nicer This is just hindsight 2020, but that's a lot more of what happened within the show within the space And what out of love though, this is not may have not been possible But if we could have been able to get our department to probably install probably a tube or two on the decks where she's working So actually like have most of those shadows underneath the neck somewhere there like disappear That would have actually been amazing to be able to sort out and actually make work and The next bit that follows with meals This was just simple because we all we had to do was just backlight them you get and that's how it got them same thing In this case backlighting them you get and like creating bounce wraps to be able to like fill in the shadows And that was great. This is how we said sketches, you know, um from the window There's a since Bob from this window which is creating the daylight the main daylight which is the source from this other size of the camera As you can notice from this other window does it emits him from there to and there's another 500 with a 16 degree lens in front of it That is what is bounce on the wall that's bouncing back in front of the guy And you can notice there's another source coming from up which he which means there's a mega boom arm there With a four by four month large We move on to the other bits which was this was some of the footage really getting towards close the end of the Cause we're like getting like towards the end of the day here You can see he is already tired from the young Yeah, so we had most of this coming And we had like a simple moves, right? This was a lot more not as bland as this bear We had challenges with clearance of setting artworks that were placed there You get like football as phase posters also since have to be cleared You could run to serious copyright issues you get especially when you're working for a big grant So we think we couldn't get clearance hence that because we had a situation whereby As a fan what would a fan had so they're like posters you get they were like things of interest just like the treatment You get some of those things you get was actually in space some of the things are on the decks back That didn't get cleared so we had to like take them all out So note for self stuff like this make sure you get all your cleared image approved before arriving on set To avoid things that could cost the brand you're working for a multi-million dollar Naira suit Based on infringement or wrong usage and stuff like that So yeah, but this was the same we had a key from a window that you could not see That came in to actually like bring up this bounce on the face We had like a tube off-screen that was actually like Giving us this whole alternate look whereby you can see it's filling into the shadows as under the chain Then also like the window you could see that just had like a feel we had like a Nanite fixture that was coming in from that corner also to just give us like the crack of day Which you can see spilling into the lamp there and creating like the highlights that you can also see in the background And this was all to sell the day and this was around about 2 a.m. already in the morning And was just like paddling and peddling same thing very quick shot Took a little bit to move around to actually get to bear quite quick to when we actually got it done And we were able to move up to next setup which led us to this setup Which was in the same space as the next two setups, which was not that much Same technique as the one with the guy by the window We had like the m40 pushing through to create like this hot So we tried to do the light to be hard on the body but soft on the face So the m40 was pushing in and we had like a sandwich diffusion to actually come in And cut some of the levels out you get and you can actually see that on the body here You can see how hot it is here but on the face you can see how soft it is It gives this whole very mystic quality of light that it actually feels a lot more contemporary edgy and interesting you get So it was like hard on the body soft on the face triple layer diffusion And we're able to arrive at this but we had more front of field to be able to fill into the shadows So there's like a sauce that was like coming toppy not so much that it came in Which was light on the face but we also had like our bounce cards to like take out most of the Lower the contrast on the underneath the chain to be able to actually give it the entire wrap that we see So the fall off was a little bit more smooth and soft so it went from like pretty hard to pretty soft And just wrapped beautifully in the shadows Yeah but same thing is happening here but in a lot more lowered contrast ratio And with a lot more darker clothes you get but this time it's not like hard on body We're actually now doing like a skip bounce so the head is coming from off-screen off the window So we have like a frame that's coming in creating our key There's a bounce on the floor that's being able to like skip bounce a little bit But not as much as we can because we pulled out to a wide So the bounce was being moved as the camera went back on the dolly But the head sauce is coming overhead by skipping over her And we just diffuse the one that's coming on her shoulder so it's not that hot To be able to like give this wrap so it's almost like a skip bounce That we're using to like relight the situation with a subtle push from a larger sauce that's off-screen And that's how I believe we lit this We've gone through most of the shots and this is how we have lit some of them I hope this was interesting and more fun for you If you have any questions leave them in the comments If there's anything I skipped please forgive me I know it was not deliberate And I would look forward to seeing you in the next video that we create With the hopes that we get to keep improving on the things we share And be valuable to you Don't forget to hit the like and subscribe button And also the notification bell Until next time I see you, improvise, adapt and overcome Thank you