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MUSIC VIDEOS www.postmagazine.com 18 POST SEPT/OCT 2026 BROOKELEN — HIDE LA-based indie rocker Brookelen shared the first taste of her third EP, "Dark Side of the Sun," set for release October 23rd via Soliloquy Records. The Hide music video plays as a heavy, cathartic track that shines a light on demons. Hide is part performance, part story, with Brookelen exploring themes of reli- gion, trauma, sexuality and demons. "This is my exorcism song," she states. "It's about rooting out the pain, calling it out of hiding. Demons don't like light." Connor Rousseau served as co-director on the project, working alongside Roman Defoe. The video was shot over two days, with the narrative portion — an exorcism — captured at Brookelen's home, where Defoe transformed a bare room into the horror setting. The shoot's second day was spent in a much darker library space, where the band performs the guitar-driven track. "We wanted a library space, but many public ones either didn't match the vibe or were too expensive," Rousseau shares. "We found a wonderful Jewish church in Glendale that supported the arts." Almost the entire project was captured by director of photography Nicole Pasto using an Arri Alexa Mini camera, equipped with a Canon TLS FD lens, though a few pickups were recorded on Blackmagic Design's Ursa 4.6K, paired with vintage Takumar lenses. Rousseau edited the project in DaVinci Resolve, working from his home setup, which represents his typical workflow. "A lot of our inspiration originally came from scenes in films like Constantine (2005), The First Omen (2024), Nine Inch Nails, Mandy and Mark Romanek," says Rousseau. "Once all placed in order, the cut just fell together in our lap and it became picking shots that felt most impactful and had the most person- ality for the performers." Finding the library location represented one of the biggest challenges in pulling the whole project off. Once the shoot was complete, the edit came together in less than a week. "I can't stress enough how important pre-planning your edit is, since it allowed our workflow to be so efficient in post," Rousseau states. "Most of the decision making came between me and Roman for the edit. Once we felt it was good, we would ship it off to the artist to give more technical notes." The color treatment for Hide was inspired by the overly-saturated, gritty and industrial look of 2000s music videos. "Our colorist Jeff Yang helped bring the image to life, as well as Nicole, having a pre-built show LUT ready for the shoot," he explains. "I worked closely with the two of them in-person during the coloring process." Small touches helped enhance the footage. The flicker seen during the song's bridge, for example, was achieved by the shoot's gaffer, who switched the lights on and off really fast. "It was such a small add on, but it really emphasized the feedback coming from the guitarist, making it feel like the music was having an effect on the room," Rousseau shares. — By Marc Loftus SHAB — PERFUME Shab's new Perfume video represents a remix of the track, while celebrating her Persian culture. Directed by Éli Sokhn (www.badasskid.com), Perfume was shot in a North Hollywood studio, making use of a dozen setups. Clearly the center of attention, Shab is accompanied by eight dancers and underwent mul- tiple costume changes. According to Sokhn, the location was secured by the project's producer, Laith Souqi. Marti Boncacas served as director of photography, shooting with a Sony FX3 camera, paired with DZO lenses, and mounted on a DJI Ronin gimbal. "The biggest challenge was the timeline," shares Sokhn. "Once the bud- get was approved, we had just one week to prep and execute the entire production." Shab flew in from Dallas the week before the shoot with the goal learning the choreography, alongside the dancers. "Every day counted," Sokhn adds. Further adding to the production's list of challenges was the availability of Sokhn's core creative team. "I have long-standing collaborators that I trust, and we have a strong creative shorthand, so it was important to build the schedule around everyone's avail- ability while still staying on track." The budget also forced the team to be strategic. "No matter the size of the budget, there's always one more shot you wish you had time or resources for," notes the director. "As we got to the final hour of the shoot, we were racing against the clock to capture one additional shot that was originally planned, but was more of a 'good to have' than a 'must have.' Thanks to my 1st assistant director, Constantin Preda, keeping the day running efficiently and on-schedule, we were able to fit it in and still wrap cam- eras on-time." Eden Gamliel cut the video using Adobe Premiere Pro. Additional credits in- clude creative co-director Richy Jackson, assistant choreographer Sophia Hall and production designer Emily Ward. — By Marc Loftus