Now, as we demonstrated before, you're setting your lights now and getting the lights you want, and then you'll find fixtures?

Yeah, exactly. I mean, in this case, maybe I'm doing something for a cinematic. So the pipeline or workflow for lighting a cinematic is very different from what we would do in the PU. What we try and do is make our characters look as good as possible all the time, but the difference between a movie and a game, the primary difference obviously, is that you can move around, you can come at a character from any angle, and therefore the artist doesn't really have any true control over how the character looks. In a movie, everything is set up very, very specifically in every single shot, and lights don't generally make sense. They're just placed in space around, reflected, that kind of stuff. For lighting a game, if this was a game character that we were doing, this light rig probably wouldn't work, and I would have to unfortunately kill everything I've just done, weep a little bit and then start again. And in this case I would try and find a way to motivate that light from the scene, so I'd pick a direction, so maybe he's got some lights hanging off of his thing here, and then I'll try and see if I can make something like that work. This gives him a bit of a mysterious, don't-want-to-mess-with-him vibe. And then again, luckily, because it's a sci-fi game, we can justify having lights in places where most people wouldn't actually put lights. So if I put a light on the floor, like how I had in the original lighting setup, you can have something down here, and now, if this was in-game lighting, it would be a little bit closer to something like this. And then we can tweak things a little bit more. We just have a little bit less of that really fine control. Specifically with putting in an eye catch light for the specular highlights on his eyes, that's a lot harder to motivate in an actual level design sense of lighting.