“(The band) wanted the video to feel like it existed inside a surveillance-driven dystopian world, and the thermal imagery was one of the visual tools to reinforce that idea. We experimented with several approaches before finding the right solution. Initially we tested different cameras, including a Blackmagic monochrome infrared camera, but eventually we settled on using a RED Komodo. To achieve the effect, (cinematographer André Donadio) shot those scenes in locations with a lot of depth in the background, which helped create separation in the image. In post-production, we processed the footage in DaVinci Resolve, converting it into a depth-map-style black-and-white image and then applying a custom infrared LUT designed for proper thermal cameras. This process gave us much more control over the image while still maintaining the visual language of thermal surveillance footage.”

The visual language of the thermal footage scanning over the band is startlingly direct and makes the threat of being observed more potent and plays with the idea of who is watching who in this digital age. Coupled with these looser close-up scenes, feeling like a predator hunting prey, the digital camerawork is equally sinister as the stalking of these anonymous whistleblowers occurs slowly and methodically. The camera tracks passers-by through crowds and glances across buildings obsequiously. Yet the band stays strong, thrashing in sound protest of their hounded surrounds. Bryce gave more insight on how the lenses used helped achieve a horror/thriller effect, describing:

“We mainly used two zoom lenses. The Fujinon 20–120mm was used for the cleaner looks — particularly the back-of-the-head shots and close-ups — on the ARRI Amira. For the street-crossing scenes with people moving through the frame, we used an Angénieux 25–250mm on a Canon C500 Mark II, shooting in Super 35 mode. Visually, I was trying to support Bryce and Dan’s concept for the music video, which had a strong dystopian and surveillance-driven atmosphere. The approach was to combine the locations with natural light whenever possible, or shoot at the best times of day so the light would create strong shapes and textures in the environment. We were intentionally aiming for an image that felt slightly uncomfortable and not easy to digest. It’s difficult to name direct influences in something so experimental, but cinematographers whose work I admire definitely left an imprint on the visual approach — particularly Jeff Cronenweth in Fight Club and Darius Khondji in Se7en. Another important element came later in post-production. After the video was edited and graded, we re-filmed the finished image off a CRT television. That process introduced analog artifacts and helped create a more authentic surveillance texture, while also blending the different camera sources together into something more organic.”

The influence of filmmakers like collaborators of David Fincher is particularly in the way the camera moves, also reminiscent for this reviewer of frenetic film clips by hip-hop and nü-metal artists. The gear used adds immensely to the effect of a wretched ratcheted up paranoia subsuming all in its sight. Track systems and sliders help to carry motion and capture the characters in a state of unease, Bryce adds: