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Dark style but Filling Aesthetic Music Video by Jeremy Aiden


is a music video released on 31.01. 2020. Filling of aesthetic color but horror atmosphere bring out a unique style . Today, Open the interview record a year ago and re-experience Jeremy's design and interpretation of this film.

Shot on BlackMagic+DZOFILM Linglung

This is a music video released on 31.01. 2020. Filling of aesthetic color but horror atmosphere bring out a unique style .Today, Open the interview record a year ago and re-experience Jeremy's design and interpretation of this film.

DZOFILM: Can you tell more about you?(career/major/hometown/hobby...)

Jeremy: I’m Jeremy Aidan and I’m an independent filmmaker and director. I write and direct music videos and short films in Paris.

Jeremy Aiden

DZOFILM: What the theme of the clips? The MV telling audience about?  (what you want to express through it?)

Jeremy: This music video is mostly about fantasy through murder. It’s pretty dark but I think it’s interesting to put in perspective sex and death.
It’s also to denounce violence against women but in a hidden way.

DZOFILM: Could you share the idea/ brief storyline of this MV?

Jeremy:Mr Strangler is a serial killer (character created by the band) in jail who s gonna fantasize the murder of his psychiatrist.

DZOFILM: We feel the extreme tension/ freak emotion in your video, Could you share some skills or experience on that kind of filmming/ scenery setting?

Jeremy: I wanted to bring out the emotions of the woman through the eyes of the killer. A kind of love but in a twisted and awful way.
To try to reclaim this feeling I wrote every shots of the « dream part » like it was a sensual and sexual relation, with many close-up, Bottom views and top views.
Nicolas Lamour, my D.O.P., lighting these shots with a soft warm light to increase this sensation.

DZOFILM: hows your feeling when you shooting with the DZOFILM lens 20-70 (color rendition/resolution/breathing/natural characterist/ parfocal etc..)? Any impressive moment that DZOFILM 20-70 bring to you?

Jeremy: I’ll let this answer to my D.O.P.

Nicolas Lamour (D.O.P.): I really like the way you built the lenses. There are not a lot of choices with these kind of « cine » zoom lenses for M4/3.
The rings are pretty smooth. I really enjoyed those aspects and mostly the Parafocal system which gave me the opportunity to match the technical elements with Jeremy’s narration, and to be able to propose a full zoom in-out in focus, to play with the surprise of the violence act in a single shot with a constant focusing on my subject.
The little knob on the zoom ring helped me a lot to make it manually. I like to use soft filters on my lenses. Before i tested it, i was quite afraid the lens wouldn’t be sharp enough to add diffusion. Finally, I shot most of the video wide open and, I was quite pleased with the accuracy of the lens. In my opinion and for this project, the image looked sharp enough to soften it a little with a bit of diffusion.
I do not have much to say much on the color rendition because it was one of my first experiences with the Black Magic Log. In my opinion the render was clean. I had a good range for the color grading. I did like the flare rendering. I enjoy using a flare to bring a veil on the image and add some more texture, the lens brought me what I needed and it helped us to significate the character die.

DZOFILM: Besides DZOFILM 20-70 and bmpcc4k, did you used any other accesories for shooting?any set up recommended?

Nicolas Lamour (D.O.P.): For this music video, we had a small crew and a low budget, so we had to move fast. I was looking for a zoom solution for M4/3 that was suited with equipments such as Tilta manual follow focus and mattebox.
The optic's rings helped me with that. The choice of the focal range was perfect with this project and I shot everything with the DZO 20-70.
The diameter of the front element, gave me the possibility to mount a variable ND filter and offered me more flexibility to work on my exposure.
Working with BMPCC4k, I added a NPF adaptator to deal with the low autonomy with LPE6.
For the storage, we worked with an external SSD.
We used a Cineye Accsoon to allow the director to use his own smartphone as a monitor with wifi. We used it to have an external look at the frame and it was great. However, I wouldn't recommend this solution for the focus puller, because of the system's latency. To power it, we used an USB C external battery on the camera cage.
The camera was mounted on a Shape shoulder rig and on a Sachtler FSB6.
All the camera equipment and lenses came from SOS ciné in Paris. Their equipment offered us great alternatives to work with this type of camera.

DZOFILM: What's is the most important thing for a nice MV filmming from your point of view?

Jeremy Aidan (Director): When I watch a music video I like to be amazed or thrilled by an artistic vision. Maybe the most important thing is to dig cool and strong concepts.

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