 Hello and welcome to Scene Lighting. Now we're back to our traditional scope. My name is Daniel Hinge, director, DP and colorist. And today we'll be looking at this scene. Okay. So first of all, we're in this airport hangar somewhere in Lagos, some private airport hangar. And the hangar was filled with close to 20 rows of halogen bulbs. And most of these halogen bulbs, they were emitting this HMI coolish light, but they were a little bit more cold than the HMI realm. So you could actually put them probably close to 8,000 to 10,000 Kelvin, the kind of light that they were coming from that they were emitting. At the hangar door, there were LEDs across the runway that were about close to, say, 1,000 feet, a year far away from it. So you could perceive it with your eyes, but it was not perceivable in camera. So what we had to do was that we broke out our 4K HMI and was up a direction in front of it. And we put the HMI up on a scaffold. And we placed sodium vapor in front of the HMI. And we had that HMI pushing this sodium vapor with a lot of grain, more grain into the condo. And the grain went and mixed in with the blue and created this whole cyan feel that you could actually see in the image. And on the wide shot, because it was not close-up and not personal, there was nothing to diffuse it, you could actually see the character running from the right side of the frame to the left side of the frame. And that was like the frontal key that was actually key in against the coat background. So that way we could achieve depth in color contrast and we could also achieve depth with the sense of the image. Basically, we actually used the ambience that we actually met on location and we modified it, tweaked it for the right composition and with the right addition of just a little bit of light here and there to accent what was already present there, we could land at this amazing frame. So on the next time, improvise, adapt and overcome. Thank you.