So the other day I was sitting in front of my front door and I was randomly browsing Twitter and I saw this ad that made me go, wow, that's pretty cool. And I watched the whole thing and I thought to myself, how can I recreate that same thing? So I pulled on my camera, didn't even turn on, I'm just looking through it without the EVF even on, waving the camera around like I know what I'm doing and eventually just put it down because I came up with no ideas and that's it. I feel like the teal and the orange look have become somewhat of a meme nowadays in the filmmaking community. I feel like everyone, someone is trying to sell you their orange and teal, what? And I would agree that a lot of them are just overdone and not really appealing at all. It's so hard to create that color contrast in natural everyday lighting scenarios and if you try to push it too much in post, your footage just starts looking really bad. And in general, if you're not intentionally lighting for the orange and teal look, then it's not going to turn out really great. But when it is done tastefully, I think orange and teal can still look really good. So let's jump right in and see how I recreate it and broke down that ad. Now the first thing that I always do when I try to copy a lighting setup is to look at the false colors. Now why is this really important? Because false colors can tell you the exact value of light that the cinematographer used on set and then we can use those values to create and calculate the lighting ratios. And from there, it's really easy to know the exact amount of light that you would need in order to recreate that same shot. I've linked the original commercial down below in the description if you want to go and check that out. The gear that I'm using today is the Canon C70 along with the Tamron 24270 lens. So the first shot that we're going to be working with is always going to be the white shot. It's always easier to set up the white shot first and then go in for the close-ups. So for this white shot, the most prominent light that we see right away is this blue ambient light that is coming from top down. We can also tell that the light is positioned behind the actor in order to create that silhouette. Now if you are trying to create a silhouette, you always want to have that light behind the actor because if you have it over top of the actor or in front of the actor, you're going to light up the actor. All that light is going to spill onto the face, onto the body. And in order to create that silhouette, the actor cannot be lit up whatsoever. So we're going to put the light behind the actor and flag off any unnecessary spill. If we flip over to the false colors in DaVinci Resolve, we can see that the ambient light is sitting around 45 IR and the subject is at 15 IR or below. So 45 divided by 15 is 3, which is a 3 to 1 lighting ratio or a difference of 1.5 stops of light between the ambient and the actor. So now that I know that, I'm going to take my GoDocs SL150W and put a blue slash cyan gel on it with a rectangular softbox. And the reason that I went with a rectangular softbox is because in the commercial, we can see that wide boxy fall off on the side walls here. Now that could just be one huge soft light and they're just flagging off the light from hitting on the side of the walls. But since I'm not in a huge soundstage or a studio like they are, I'm going to use a softbox that's rectangular so that I can control more of that light spill. And my setup is attached to a boom arm with a sandbag attached to it as a counterweight. And this whole rig is sort of heavy, so make sure that you have someone else help you when you are pushing that thing all the way up. So as I'm setting up that light, I'm looking at my false colors on my Atomos Ninja 5 monitor and making sure that the amount of light hitting that wall is around 45 IR. If it's too hot, then I'm bringing it down. If it's too low, then I'm obviously going to bring it up. So once I'm happy with how bright the ambient light is, we can look at the four practical lights that they used. If we flip over again to the false colors, we can see that the bulb itself is very hot around 85 IR. But then it gradually falls off to about 50 IR. Now I didn't have any cool practical lights like that, but what I did have are two aperture light bulbs and a cool neon sign right there with my Chinese name on it. I set the two light bulbs to around 32 Kelvin to get that super warm light. And I also wanted to keep the light bulbs from spilling onto the wall behind it, so I taped a piece of black gaff tape to the back of both of them to flag off some of the spill. For the neon sign, it comes with a dimmer switch, so I simply set it to the lowest brightness level to keep it from blowing out. And I'm also placing the sign closer to the tables so that we can motivate the key light when we go up for the close-up shots. One thing that I had to my advantage was that behind the camera was a long hallway that essentially just leads into my living room. And if I turn off all my house lights, then it's essentially a huge negative film. And that really helps a lot when we're creating that silhouette because you just don't want any light to be bouncing back onto the actor, in this case me. And if I did have a white wall right behind the camera, then I would need to figure out some way to flag that off, put some negative film, black cloth, do the teen, or anything like that in order to limit the amount of spill that is returning onto me. And I made sure to wear darker clothes so that it made it easier to create that contrast, that silhouette, that darker look. And now if we flip over to the false colors of my shot, we can see that the ambient is sitting around 45 IR and I'm right around 15 IR or below. And the spill of the light bulbs are at around 50 IR. And if we compare the shot from the original commercial and then my shot, you can see that they look very similar both in the false colors and also without the false colors. And once we have that white shot done, all the lighting work is basically good to go. So for the close-ups all we need to do is bringing a key light from my face and also for some of the b-roll shots of the camera and the phone, close-up of my hands, all that kind of stuff, we just need to bring in one light and that's it. So if we look at the close-up shot from the original commercial, we can see that the key light is around 60 IR and the fill side is around 15 IR. 60 divided by 15 is 4, which is a 4 to 1 lighting ratio or a 2-stop difference between the key light and the fill light. So from my shot, the key light is the Godox SL60 with a 48-inch softbox and a honeycomb grid on it and the honeycomb grid helps you control that light and limit the spill from hitting everywhere on the walls and just concentrates it right where I want it to, which is my face. And I also taped full CTO Joe on the inside of the softbox to give me that extremely warm light that matches the neon sign in the wide shot. Now the thing to keep in mind is that the wider the softbox, the softer that light will look and the closer that your light is, the softer it will look as well. And once I have that key light set up, it's all about finessing the angle and the position of the light whether I want that light higher or lower or if I want the light to be more side lit or more frontal on my face, depending on what kind of look I'm going for. Now for the B-Roll shots, all those close-up shots of the phone, the camera and my hands, it's all about wrapping the light over the top of the object and backlighting it. This is a really simple method that allows you to create as much contrast as possible and make the shot look as interesting as possible with these B-Roll shots. If I wanted the light to wrap more over the top of the hands or the object, then I would raise the light itself and if I don't want to wrap as much over the top of the object, then I would lower the light. And once you have this key light set up, all you need to do is just make micro adjustments to the intensity of the light, the angle of the light and the position of the light in order to create that same effect. And as far as the lighting set up goes, that is pretty much it. And when I'm colligating in DaVinci Resolve, all I need to do is just add contrast, saturation and just mess with the highlights, mid tones and the shadows. And that's pretty much it in order to create that orange and teal look because you're already lighting for that orange and teal. I like to use the Kodak 2383 Lutz that comes with DaVinci Resolve because I like that film look, but you can use whatever Lutz or you don't need to use Lutz to be honest. You can just add contrast and saturation, like I said, and you should be good to go. And that is pretty much it for this video. If you liked it, please hit that like button and make sure to subscribe for more videos and breakdowns like this one. And until the next one, my name is Alex Scheng and I'll see you later. Bye.