Welcome to SIN Lightning. Now we're back to our traditional scope. My name is Daniel Himmer, director of DP and colorist. And today we'll be looking at this SIN. 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... No, yeah, 20 rows of halogen bulbs. Some of these halogen bulbs, they were emitting this HMI cool-ish light, but they were a little bit more cold than the HMI realm. So, you could actually put them out probably close to 8000 to 10000 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, 1000 feet, a year fire away from it. So, you could pressively with your eyes, but it was not pressively in camera. So, what we had to do was that we broke out our 4K HMI and we set up a diaghrish on the front of it, and we put the HMI up on... with Scarfold, 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 create this whole sand fill that you could actually see in the image. And on the wide shot, because it does not close up and not press it out, it does not introduce 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 keying against the code background. So, that way we could actually 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 the location and we modified it, tweaked it for the right composition and we would write an 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.