Music Video Shoot Equipment on Rent in Dehradun
Music videos are where look matters more than coverage. There's no dialogue to protect and no ceremony you can't miss — so the budget goes into things that change the image itself. Anamorphic glass and full-spectrum colour do more for a music video than any sensor upgrade, and we keep both.
What this shoot actually demands
The look is the whole brief
Nobody judges a music video on coverage. Oval bokeh, horizontal flares and a distinctive colour palette are what make it read as cinema rather than as footage.
Colour is a creative tool, not correction
Full-spectrum RGB heads let you build a palette in camera and change it shot to shot — far more convincing than trying to paint colour on in the grade.
Movement sells energy
Music videos live on motion cut to rhythm. A capable gimbal is doing more narrative work here than on almost any other kind of shoot.
Shot in bursts, not continuously
You shoot in setups against playback, which means time goes on lighting and blocking rather than on long takes.
The kit
Sony FX3 Cinema Line Full-Frame Camera
Cinema image in a body small enough to live on a gimbal all day, and clean enough for dark, heavily-coloured setups.
Sirui Anamorphic 1.33x Cine Lens Set (50/75/100mm) T1.8 · Sony E-Mount
The single item that most changes the look — true anamorphic character, oval bokeh and horizontal flares across three focal lengths.
DJI RS4 Pro Gimbal
The heavier-payload gimbal, which is what anamorphic glass actually needs.
Godox Knowled M600R RGB
A powerful full-spectrum RGB head — enough output to light a set in saturated colour, not just add an accent.
Nanlite PavoTube II 30C RGB LED Tube (4ft, 4-light kit)
Four tubes to place in frame as visible practicals — the look that defines modern music video lighting.
Atomos 7'' Shogun Ultra Monitor-Recorder
A large, accurate monitor for judging heavily-stylised images where the camera's own screen will mislead you.
Worth adding
Sony FE 24mm f/1.4 GM Lens
A fast wide for the shots the anamorphic set doesn't cover.
Nanlux Evoke 1200B LED Bi-Color
Serious output when you need to light a large space or shoot day-for-night.
Godox RS60R RGB
An extra compact RGB source for background colour separation.
Gaffer
Lighting-heavy shoots run considerably faster with someone whose only job is the lights.
What people forget
Anamorphic on an underpowered gimbal
Anamorphic glass is heavy. An undersized gimbal will struggle or refuse to balance — match the payload before the shoot day, not on it.
Planning the look without testing it
Colour combinations that sound striking often read muddy on camera. A short test with the actual lights saves the whole shoot day.
No playback for the artist
Performance sync needs audible playback on set. It's the most common thing forgotten on a first music video.
Lighting for the eye instead of the sensor
Heavily saturated setups can clip a channel long before they look overexposed. Monitor properly.
Don’t want to shoot it yourself?
We hire the kit out, and we also shoot on it. Want us to direct and shoot it? See video production in Dehradun.
Music video kit — FAQs
What is an anamorphic lens and is it worth renting?
Anamorphic lenses squeeze a wider image onto the sensor, giving oval bokeh, horizontal flares and a wider aspect ratio — the visual signature people associate with cinema. For a music video, where look is the entire point, it's usually the single highest-impact rental you can make.
What camera is best for a music video?
Almost any modern full-frame body will do. The FX3 is a strong default because it handles dark, saturated lighting cleanly and is small enough to live on a gimbal. Spend the budget on glass and lighting before the body.
How many lights do I need for a music video?
Fewer than you'd think, if they're the right ones. Two strong RGB sources plus a few in-frame tubes covers a great deal of what modern music videos look like.
Can I rent a crew as well?
Yes — we hire gaffers and light men alongside the kit, which is worth it on lighting-heavy shoots where setup time is the real constraint.