flashlight to add moving flares. To light the banquet hall, Bader relied on the location's practical LEDs and chandeliers, two Skypans and "a whole lot of Lekos," the cinematographer explains. A Leko keyed the main-stage portion of Urie's performance, with set lighting technician Drew VanderMale pivoting the light from atop a ladder to simulate a roving spotlight. Five additional Lekos were placed on the floor of the stage behind Urie with matching fanpattern gobos that kicked in during the video's chorus. Two more Lekos were situated high above the stage - one on each side - and blasted through the output of a pair of DF-50 Diffusion Hazers to create shafts of light. "The space was 90-percent lit using Lekos," recalls Bader. "Our Skypans on the stage were modified so I could use the lights on house power and have them both on a single 2K Variac; the bulbs were removed and replaced with 1K Mole-Richardson Molettes that were actually Cardellini-clamped inside of the Skypans. If you're really savvy, you can definitely spot those Cardellinis in the video." Creative rigging was also employed for a boom down from a shimmering chandelier as Urie approaches the stage at the video's outset. Without the budget for a proper jib, a Sony a7S with a Canon L-series 16-35mm (f2.8) zoom was placed on a Ronin gimbal and suspended from a "goalpost" pulley system made from speed rail and Mombo stands. Bader set the camera's ISO to 3,200 and aperture to f16 to ensure the desired focus. ➣ Top: The frontman sings in close-up. Middle: Bader frames a shot with a Digital Harinezumi 3 taped beneath the lens of the Epic, and with a turntable rigged in front of the cameras. Bottom: Bader operates the camera as best-boy grip Ray Chatman holds a bead board and gaffer Eric Clark (far right) adds a subtle pulse effect by waving his hand in front of a bounced Leko. 18 June 2016 American Cinematographer