The majority of this music promo was shot on an Arri Alexa 4:3 in 2K ProRes using Panavisions C-series and G-series Anamorphic primes with some additional photography shot on a RED MX with Panavisions Xtal Express Anamorphic primes.
The main visual references the director and I discussed were photographer Gregory Crewdson's work and the films of Wes Anderson (shot by Robert Yeoman) so we were trying to achieve a surreal atmosphere with a vibrant colour palette.
For the main location I used Lee Medium Blue Green gel on most of my background sources (a combination of daylight balanced kinoflos and smaller HMI cinepars) while keeping the keylight neutral (usually a combination of tungsten jemballs warmed slightly on the dimmer). I kept the camera at 3200K and 800asa and the stop was usually a T4. I hung 2 x jemballs w/500w bulbs above the table and skirted them to contain the spill. Opposite camera there was a Kinoflo Flathead hanging just above the frame that worked as a backlight for the lead actress, and this was supplemented with additional Flatheads on the floor as 3/4 backlight where necessary. Depending on our angle of view I'd use smaller Cinepars and 4x4 kinos bounced into the ceiling to add some colour to the background. For a flicker effect I had 2 x redheads running through a a flicker box and pushing through a frame of Muslin and for the sweeping spotlight I used a source 4.
For the shot of the girl looking at herself in her bedroom mirror at night I used a single 4ft x 4tube kino just outside the window to key her and used a 575w HMI Cinepar with a spot bulb sitting on the floor just outside the window to add a slash of moonlight across the floor. A handheld HMI pocket par sat just out of frame right to flare the lens.
For the warmer coloured scenes inside the dance rehearsal studio at night I used the Xtal express lenses for a softer, more dreamlike feeling and kept the shooting stop at T2.8 which enhanced the softer aberrations of the lenses and made a nice contrast between the C&G series. A pair of 2k's and another pair of VNSP parcans, all gelled with CTS, pushed through the window to work as a backlight and I used the ambience from the room as fill. For close ups I supplemented the light with some smaller Kinos again with tungsten tubes and CTS.
There's a couple of lighting plots below (designed in the Lighting Designer App - can't recommend this highly enough!) and a few BTS photos from the unit stills that give you a sense of the lighting rig in the main location.
Theres also a brief clip showing the Dolly/Lighting Rig we used for one of the shots here