How can I get my shot closer to this?

[Lewis A Fernandez]

Top - My shot.

Bottom - Euphoria 

I’m using two Aputure MCs, with the orange one pointing up toward my chin and the green one pointing toward the top of my head. 
 

I didn’t realise, but I had a cinebloom filter on my lens which made my image too soft but apart from that, what are your thoughts?

 

Thanks in Adv ? 

[Eric Eader]

Lewis,

Study the shadows on her face.

There are more than two lights working.

And there is significant netting as well.

That should get you started.

[Lewis A Fernandez]

11 hours ago, Eric Eader said:

Lewis,

Study the shadows on her face.

There are more than two lights working.

And there is significant netting as well.

That should get you started.

Thanks Eric!

Can you explain what netting means to me? 

[Nathan Walters]

Using a net (single or double) to control the light more precisely so it isn't just a blanket exposure over whatever it hits.  I imagine this would be hard with MCs and may be easier with a larger light source.
Notice in the Euphoria shot how it is significantly brighter over her nose and mouth than her eyes.  Her mouth and just barely the bottom of edge of frame are the highest exposed parts of the image.
Versus in your shot, the shirt, the pillows are the brightest and most attention grabbing and it pulls your eye away from his face.
It also looks like the Euphoria shot has some interesting shadows which you can mostly see on the blankets around her, especially on the right. Which would be getting a good tree branch or some kind of gobo to put in front of the light and help break it up.

[Eric Eader]

Lewis.

I have not seen Euphoria so I haven't a clue what preceded or followed this shot.

So, what I write could be off the mark.  But having said that, as this shot stands alone, look at the shadow under her nose and chin.

That tells you exactly where that keylight was placed. Notice the inverted "v" above the nostril.  Actually there may be two inverted "v's;"  the second just below her eye sockets.  (At least that is what appears on my computer screen). But that's only a maybe.

Take a moment now, and sit in an office chair and lean back. (You can use any chair, just don't fall backwards).  Looking up toward the ceiling extend your arms, and hiding your thumbs make an inverted "v" by bringing you hands together. That will approximate how the nets and light were placed for her face.  Incidentally, lighting someone else is much easier than lighting yourself.  (Ask Cindy Sherman!!).

The lights used to light you are positioned sort of like a left, right side of a shallow "x" relative to you.  Scroll back up to the picture of you and put your left hand out in front of you on a diagonal to block the light on camera right covering the yellow shirt and cushions.  That would be close to what needs to be netted to reduce light intensity and focus attention back on your face.  Note also the missing face keylight.

More than one green light may be surrounding her forming both side and back light.  On the camera right side, the yellow sidelight might have a solid cutting across her shoulder (or a silk).

As for nets, read:  Painting With Light by John Alton,  Professional Cinematography by Charles G. Clarke, and Reflections by Benjamin Bergery. (An ASC publication).  Also study both Mole-Richardson and Matthew's Studio Equipment catalogs.  There are more contemporary books but I personally haven't seen them.  Back issues of American Cinematographer, and online videos of Behind the Scenes for your favorite movies being made should help also.

With research for filming permits you could make a trip to London and perhaps catch an exterior/interior  location being filmed.

I hope this helps.