One of the best parts of working in the film industry is getting a front-row seat to the incredible work being created by local talent. Spending a good portion of my day on social media isn’t too bad either. Every now and then, a behind-the-scenes photo stops me mid-scroll, and this was definitely one of those moments. There it was: Tehan from ETG, on set with Nanlite lighting, and none other than Francois van Coke.
After a quick chat with Tehan, we learned that the team at ETG had recently produced the music video for Francois van Coke’s latest release, Bangkinners. The music video was filmed at Xtreme Entertainment, while the narrative scenes were shot at The Grove Mall in Pretoria.
So, of course, we had to find out more. From the creative vision behind the production to the lighting choices that helped bring it all together, we sat down with the ETG team to talk about the making of the music video and the role Nanlite played in achieving the final look.
1. What was the creative concept behind the music video, and how did the lighting help bring that vision to life?
For the performance sequences, the goal was to create a gritty, high-energy atmosphere that reflected the emotion and intensity of the song. We wanted every frame to feel cinematic, using light to shape the mood rather than simply lighting the scene. Lighting became one of the biggest storytelling tools. We used directional light, subtle colour, haze and contrast to create depth, separate Francois and Die Gevaar from the background, and give each performance setup its own character. Rather than lighting everything evenly, we focused on sculpting the light to enhance the energy of the performance.
2. What were the biggest lighting challenges during the shoot, and how did you overcome them?
Like most music videos, we were working against the clock while aiming to maintain a consistent visual style across multiple performance setups. The biggest challenge was moving quickly without compromising the look. Having lightweight fixtures that could be repositioned and adjusted in minutes made a huge difference. The SmokeGENIE also helped us introduce haze, adding depth and shape to the light while making even relatively simple lighting setups feel much bigger and more cinematic.
3. Which Nanlite products did you use on set, and why did you choose them for this production?
Our go-to combination was what we jokingly call the Holy Trio:
Alongside those, we used the PMI SmokeGENIE Event Kit to create haze and atmospheric effects. The Forza 500 gave us the output needed for our key lighting, while the PavoSlim 120C delivered beautifully soft, controllable RGB light in an incredibly lightweight package. The PavoTube II 15X fixtures allowed us to introduce colour, edge lighting and practical accents without slowing down production.
Together, these three fixtures cover almost every lighting scenario we encounter on music video productions, which is why they’ve become our trusted “Holy Trio”.
4. Did you use any particular lighting techniques or setups that helped create the final look?
We relied heavily on motivated, directional lighting, using each fixture to shape the scene rather than simply illuminate it. Combined with haze from the SmokeGENIE, this allowed us to create visible light beams, depth and texture throughout the performance scenes. We also embraced contrast by allowing parts of the frame to fall into shadow rather than trying to light everything evenly. Subtle colour, carefully controlled highlights and negative space helped create separation between the performers and their surroundings, while reinforcing the gritty, high-energy mood of the performance.
The result was a layered, cinematic look that could evolve between setups without losing the visual consistency of the music video.
5. How did the fixtures perform throughout the shoot, particularly in terms of output, colour accuracy, or ease of use?
The reliability of the fixtures really stood out. The Forza 500 delivered excellent output throughout the shoot, especially when paired with modifiers, and never left us wanting more power. Colour consistency across all three fixtures was excellent, which meant less time spent correcting colours during post-production. The RGB controls on both the PavoSlim and PavoTubes also made it incredibly easy to dial in the exact look we wanted on set. Everything was quick to rig, intuitive to operate, and dependable throughout long production days.
6. Were there any specific scenes or shots where the Nanlite gear made a significant difference?
Absolutely! The PavoSlim 120C really stood out during the performance setups. Its slim profile allowed us to place it in positions that would have been difficult with larger fixtures while still producing beautiful, soft light. The PavoTube II 15X fixtures became our secret weapon for adding subtle colour and separation throughout the set, while the Forza 500 provided the punch needed for dramatic key lighting. Once the haze settled, the beams from the Forza brought another level of atmosphere and depth that elevated the overall image.
7. Do you have any behind-the-scenes stories or memorable moments from the shoot that you’d like to share?
One of the most rewarding moments was watching an ordinary performance space transform once the lighting and haze came together. As filmmakers, those are the moments you chase; you look at the monitor and suddenly the location no longer feels like just another room. It becomes part of the story. It’s a reminder of just how much lighting contributes to the final image.
8. What advice would you give to filmmakers looking to achieve a similar cinematic lighting style?
Focus on shaping light instead of simply adding more of it. A strong key light, thoughtful use of colour, negative fill and a touch of atmosphere can often create a far more cinematic image than using lots of fixtures. Don’t underestimate the value of haze either. Used correctly, it adds depth, texture and dimension that simply can’t be replicated in post. Finally, get to know what each fixture does best and build a workflow around it. That’s exactly why we’ve come to rely on what we call our “Holy Trio”.
9. What do you enjoy most about working with Nanlite products on music video productions?
For us, it’s the balance between quality and speed. Music videos move quickly, so your equipment has to keep up. We need fixtures that are powerful, colour accurate, reliable and easy to reposition between setups. Nanlite allows us to spend less time worrying about the gear and more time focusing on performance, camera movement and storytelling, which is exactly where our attention should be.
10. Is there anything viewers should look out for in the finished music video from a lighting or cinematography perspective?
Watch how the lighting evolves alongside the energy of the performance. Pay attention to the subtle colour shifts, the depth created by the haze, and how the contrast helps direct your eye through each frame. A lot of the atmosphere comes from layering practical lighting, RGB accents and carefully controlled shadows rather than relying on heavy visual effects. If we’ve done our job well, the lighting won’t draw attention to itself. It’ll simply help every frame feel immersive and support the emotion of the song.
And without further ado…
Watch the official Bangkinners music video below.
Follow Eric and Tehan on Instagram!
ETG Creative is an award-winning South African film production company with over six years of experience creating cinematic music videos, commercials and narrative productions. Driven by a passion for visual storytelling, the team combines creativity with technical expertise to bring bold ideas to life, while continually exploring new techniques, tools and technology to push their work further and create films that connect with audiences.
A huge thank you to Eric and Tehan for taking us behind the scenes of this incredible production and giving us a glimpse into the creative and technical process behind Bangkinners.
If you enjoy seeing how music videos are brought to life, be sure to follow Eric and Tehan on Instagram for more behind-the-scenes content, lighting setups and future productions.