Beyond the Arc - Lighting An Ai Artist Music Video
I got hit about a week or two in advance to check availability. Mentally locked it in, never really officially locked it in. Only curveball I didn’t have my truck because it was getting serviced. Not ideal when you’re moving gear, but manageable.
Morning of, I wake up and see the call sheet. It’s actually funny because I didn’t think it was happening because I was never reached out to by the official team. Just the DP asked if I would be free two weeks out. So seeing the call sheet as I opened my eyes. That feeling hit like, this might be one of those days.
Location One, Church on the West Side of Detroit
We start at a church on the west side of Detroit. Classic architecture, natural depth, textured walls visually, it already had presence.
We’re about two hours into shooting, and I finally ask:
“Yo, when’s the artist getting here?”
That’s when everything flips.
“The artist isn’t coming, she’s an Ai. Well it’s a true artist handling them but they aren’t coming to set.”
No physical artist. No performance coverage. No waiting on talent. No ego, no timing constraints just pure execution. That changed everything.
The pressure of lighting for a face, matching skin tones, and building around a live performance? Gone. Now it’s about environment, mood, and flexibility. The creative opened up instantly.
Gear & Team
Camera package was an ARRI Alexa LF which already tells you the level we’re operating at.
DP was Roedayzon has a solid eye, knows how to shape light without overcomplicating it.
Director Gerard kept things efficient. No wasted movement. There was also a team that flew in from New York they got a quick 48-hour crash course in Detroit production life.
Lighting Approach, Staying Mobile
I kept everything lean and movable.
I brought a 1200D just in case but never needed it.
Church Setup:
Aputure Nova
Aputure 80c
That was enough. The space already had character. It was about enhancing, not overpowering.
Location Two was in an Airbnb
Second location, I stripped it down even more:
300d II
80c
Mirrors (key tool here)
My mirrors don’t get used enough. They let you redirect and shape light in a way that feels organic especially when you’re building something stylized without a subject.
Location Three, Midtown Office (Evening Look)
Final stop: the old WeWork building in Midtown. We didn’t need much because the sun was going down so I needed to keep the warm feel that the sun was giving off as it went down.
The Setup:
Amaran F21
80c
MC lights for practical accents
This was about contrast creating separation, pockets of light, and making it feel like the city was alive outside without ever seeing it.
What stood out most wasn’t the gear or even the locations it was the absence of the artist.Normally, everything revolves around that person.Here? The world became the subject. The storyboard carried everything. Every frame had to justify itself without performance to lean on.
Final Thoughts:
This wasn’t just a shoot it was a preview of where things are going. AI artists remove traditional constraints, but they also demand stronger visual storytelling. You can’t rely on charisma or presence. You have to build it from scratch with light, framing, and intention.
And honestly? That’s where the fun is.