great...but more than half the video...no comprende, no me gusta. yeah I' a critical bastard like that :/

We had some language problems too, first all like: "yeah, that is interesting and then ... toooooo much spanish!" We told Alfonso already to make more answers in english!

My attempt at translating:
Sergio Carlos asks me:
Hello Banshee can you explain how to achieve an OSL effect? I always learn with illustrations but shadows on the miniature stop me from achieving the desired effect. I don't know very well where to place light. best wishes and thank you very much
Banshee answer:
Well Sergio it is the easiest question to answer. How to achieve OSL depends on the type of OSL you want to recreate, if it is an effect from the environment, directed from a source, if you want to achieve several light effects on the same figure, if you are going to recreate a general light effect plus a directed OSL and so on. As so it depends on a lot of things however the most ancient technique, which was when we use to think about using OSL on a figure what used to be my way of achieving it while I was working for Andrea was to direct a light beam with the airbrush. to me it is something very useful but very basic because even tough you are focusing and directing the light you are doing in a very artificial way since you are recreating a light bulb pointed a few meters from your face and the light is emitted in a conical shape. I prefer to paint the effect with the brush since I can control where the light goes, I am not saying you should not use the airbrush simply that is a very basic way of achieving OSL which is perfectly acceptable and for which you can get great results however it loses the intention and is very innocent so I prefer to paint the light where I believe it goes.

As for where to light the volumes is more an aesthetic question than a realistic one since when you are painting a miniature with light you are already faking it since the realistic way would be to plain in a single colour and let the volumes project their own shadows according to its own material. However since you are forcing the light coming from specific points you are interpreting the light at your own taste so it is more akin to an illustration than to a photography. So what you are trying to achieve with light effects is to achieve ambience but not in a realistic way but in a credible way, so the illustrator places the light where it wouldn't necessary be realistic since if you look at a photography you will see so many environmental lights affecting what you are seeing that you cannot identify them all. For example a few years ago I painted a canvas for a
As for where to light the volumes is more an aesthetic question than a realistic one since when you are painting a miniature with light you are already faking it since the realistic way would be to plain in a single colour and let the volumes project their own shadows according to its own material. However since you are forcing the light coming from specific points you are interpreting the light at your own taste so it is more akin to an illustration than to a photography. So what you are trying to achieve with light effects is to achieve ambience but not in a realistic way but in a credible way, so the illustrator places the light where it wouldn't necessary be realistic since if you look at a photography you will see so many environmental lights affecting what you are seeing that you cannot identify them all. For example a few years ago I painted a canvas for a
"something" models and I would surely not saying it is the best one I have painted, since with time I have improved quite a lot, however it is one of the most complex ones I have painted since it has multiple directional lights from swords, lasers, from below from the soil, projections between themselves since they are fighting with each other blocking light and creating shadows. Moreover the position of the figures is different the main character is facing is back while the secondary character is parallel with the soil. It is also a night scene which needs to be dark even if it is illuminated from everywhere. it is a piece that when I study it how to do it took me a month of research in the studio without leaving it at all, sleeping just two meters away from the canvas as I was obsessed by it, and at the beginning the interpretation we wanted to do was to copy one of the scenes from the movie and when I saw the photos we realized we couldn't do it because in a film you have movement, you know in which scenery they are so your brain can put it into context you do not need every photo to reflect the lighting. So when we saw the photos we realized it had a lot of desaturated tones, salmons, reds, and a lot of other colours that do not indicate light if you use those colors since what you are projecting is not light so what we decided was to do an illustration in 3d more similar to a cartoon where colours are saturated where light is overexposed, high contrast to create a fake but very believable because aesthetically would function very well. As so there is really not an answer for it you can try to do your first attempts with the airbrush as I said, however my recommendation is that you replace the airbrush with the brush.

It is ok to direct with the airbush to mark the scheme where you should focus. However inside light tones there will be some which are of no interest to you at astetachly or expression level since it will sparkling due to the finish with the airbrush being less expressive than the brush. So you take that (airbrush) basis an try to interpret your way of how an illumination would be on a specific plane. In fact I recommend you to focus on a plane at the time. Take a primary plane first and then on the next figures try to achieve a 360 effect, which is obviously quite hard, it is in fact what of the hardest things to do, but you always need to take all the previous steps first so you can understand it because otherwise in the end you will have too much information to show (light, the volume, the type of material, the movement of the figure, the type of ambience, the chromatic composition). Imagine for example some trousers that would completely on shade but you have to paint them yellow, because that colour warmth goes against the effect of shade you are trying to create so you need an extreme light effect. The same way if you want to paint a very dark colour imagine a ghost rider with light effects and the figure is simulating movement you need the create light in very dark tones so you need to make it in .... so it is not only spraying with the airbrush a light colour and call it done it is more about contrast and where to generate them.

Sorry if it is not perfect as I am portuguese not spanish