OKEMA X BRETT MOOSWA - All Night Music Video Treatment
————— MUSIC VIDEO · WINNIPEG · 2026
OKEMA X
BRETT
MOOSWA
A scripted love story built across a recording studio, a parking lot, and a house party. Two nights. One city. A magic cut ending no one saw coming.
DIRECTOR / DP | Eric Curt Peters |
BTS PHOTOGRAPHY | Matthew Merkel |
PRODUCTION ASSISTANT | Tyler Shingoose |
STUDIO | No Fun Club, Winnipeg Mb |
PRODUCTION CO. | DIRXECP / StarSeeker |
2SHOOT DAYS | 6+LOCATIONS | 80+SHOTS PLANNED | 4CAST MEMBERS | 1MAGIC CUT |
THE CONCEPT —————
Two Storylines.
One Night.
Brett leads. Okema carries the second half. They converge at the end — and then Michelle shows up at the door.
This music video was built as a scripted narrative — not a performance reel with a story bolted on, but a two-act structure with a cold open, a magic cut, and an ending that plays out across the final chorus.
The concept started with a simple brief: Brett calls Okema on the way to meet a girl. Okema hypes him up. Hangs up the phone. Sunglasses on. Music starts. Everything that follows is the night playing out — the chemistry, the connection, the moment it disappears — and then, hours later at a house party, a knock at the door.
What made this project interesting from a direction standpoint was the decision to keep the two storylines completely separate until the final chorus. Brett's world and Okema's world don't collide until the end. The video lives in the tension between those two worlds — the parking lot and the recording booth — and the edit has to sell that without ever spelling it out.
SONG STRUCTURE → EDIT MAP —————
How It Cuts
Every section of the video was mapped to the song before a single shot was taken. The edit reference document was built alongside the shot list — so on the day, every shot had a destination in the final cut.
01 | Scripted Intro | No music. Brett on phone with Okema. Gets hyped. Sunglasses on. Steps out to meet Michelle. | INT-01 to INT-06 | Silence → anticipation |
02 | Chorus 1 | Music hits. Brett + Michelle on the car. Performance energy and chemistry shots. | A3, P shots | High energy, visual |
03 | Verse 1 — Brett | Driving, performing. In-car verse with Michelle. Ends on the magic cut. | A2, A3-08/09, A4 | Intimate, uninterrupted |
04 | Bridge | Okema arrives at No Fun Club. The studio world opens for the first time. | B4, B5 control room | New world, pre-session |
05 | Verse 2 — Okema | Okema in the booth. Downtown inserts fill the verse where booth footage runs thin. | B5 booth, D1 downtown | Performance-forward |
06 | Final Chorus | C6 convergence on the car. Airbnb party. Brett looks toward the door. It's Michelle. | C6, P, E1, E2 | Emotional peak |
The magic cut — Brett leans in for the kiss, camera cuts to a wide, and she's gone — had to land on one specific frame. If the wide wasn't clean with an empty lot behind him, the whole end of verse 1 collapses. We shot it in the last 20 minutes of good light. ERIC CURT PETERS — DIRECTOR / DP
DAY ONE —————
No Fun Club — Studio + Lot
Studio booked 14:30–19:30. Hard out. Everything after that is parking lot — and the clock doesn't care about golden hour.
Day 1 was the narrative spine of the project. The studio scenes — Okema's arrival, the control room with Mattmac, the booth performance — all had to be done and dusted before the sun dropped. That gave the crew roughly four hours inside before transitioning to the lot.
We started with the scripted intro before Okema arrived — Brett in the car, the phone call, the sunglasses moment. That sequence needed to feel separate from the rest of the night, pre-music, quieter. It was the first thing we shot and set the tone for the whole day.
Okema showed up at 15:30. The control room block with Mattmac was the most technically demanding interior of the shoot — monitor glow and a single desk lamp were the only light sources, and we were working around the board, the glass, and Mattmac's natural position at all times. No additional rig. The light was already there — we just had to find the angles.
The booth was the deepest part of the day. The through-glass shot — Okema performing in the booth with Mattmac in the foreground at the board — is one of the editorial anchors of verse 2. It's a single frame that says everything about who's in what room and why it matters.
DAY TWO —————
Downtown → Parkade → Airbnb
Three locations. Six hours. The last scene of the night is the most important frame in the cut.
Day 2 was the city shoot and the close. No studio, no parking lot — just the crew moving through Winnipeg at night with the talent, finding the frames that give the edit its visual range and landing the emotional ending that the whole video builds toward.
The original plan included an open field for wide aerials. That got cut due to timing — and the parkade became the last exterior location before the Airbnb. It was the right call. The parkade's concrete columns and brutal geometry gave the video a harder texture that the field wouldn't have, and the block wrapped faster because the environment did half the work.
The Airbnb sequence was shot entirely on warm practicals — lamps, string lights, no additional rig. There were real people in the space already, and the production leaned into the natural energy rather than directing against it. Brett's job was to be present but slightly somewhere else.
The door moment was the last thing shot. Two people. A doorframe. Interior light on Brett, exterior dark behind Michelle. Six shots total, minimal direction, and the best frame of the project.
APPROACH —————
Production Philosophy
LIGHTING
The project was lit with practical sources as the primary philosophy — headlights, monitor glow, desk lamps, string lights, streetlights. Two Aputure pocket LEDs were on standby throughout, but the goal was always to supplement rather than replace what was already in the environment. The parking lot sequence used car headlights as backlight and a single LED panel as fill. The studio interior was monitor glow only.
CAMERA MOVEMENT
The camera language was deliberately restrained — static frames and slow pushes for the narrative scenes, handheld only for the Airbnb. The in-car verse was shot through the driver window with a shallow depth of field, giving the performance a pressed intimacy that wouldn't work from inside the car. The magic cut wide was static. Let the frame hold.
DRONE
DJI Mini 4 Pro throughout — sub-250g, no SFOC required for the locations used. All drone operations were conducted under Transport Canada Advanced RPAS certification with Tyler Shingoose on ground spotter for every flight. NAV Drone checks were completed 48 hours ahead of each shoot day.
THE MAGIC CUT — HOW IT WORKS
The video's central editorial moment is a cut that has no visual effect — no transition, no dissolve. Brett leans in toward Michelle, the camera is tight on their faces. At the moment of contact, the camera cuts to a wide: same location, same car, same headlights. But she's not there. Brett is alone in the lot.
The cut lands because of what the wide has to communicate in a single frame — he's alone, the space around him is the same as before, and she's gone. The A4 solo shots that follow carry the emotional weight of that moment forward into the bridge.
THE DOOR MOMENT — SHOT LIST
Scene E2 was six shots. The approach was minimal direction — the doorframe, the light differential, and the two performers carried it. Interior warm spill on Brett's face from behind. Exterior dark on Michelle. The wide at the end lets the frame breathe: party still happening in the background, only these two in focus.
EQUIPMENT —————
Gear List
CATEGORY | ITEM | USE / NOTES |
CAMERA | Blackmagic Pocket Cinema 6K | Primary camera — all narrative, performance, and b-roll. Owner-operated. |
LENS | Sigma 18–35mm f/1.8 | Wide to medium — establishing shots, two-shots, interiors. |
LENS | 85mm Prime | Primary portrait lens — performance close-ups, the magic cut, door moment. |
LENS | 50mm | Mid-range workhorse — chemistry shots, candid party footage. |
ACTION | GoPro | Driving POV — hood-mount and dash cam for in-car verse. |
DRONE | DJI Mini 4 Pro | All aerial footage. Sub-250g. Transport Canada Advanced RPAS certified operator. |
LIGHTING | 2× Aputure Pocket LED | Supplemental fill only — not primary key at any location. |
SUPPORT | Car Rig / Suction Mount | Hood and window mount for A1/A2 driving shots. |
PHOTO | BTS Photography | Matthew Merkel — raws delivered to DIRXECP. On set both days. |
ABOUT
DIRXECP
DIRXECP is a Winnipeg-based cinematic video production company. We direct and produce music videos, commercial content, and branded film — with drone cinematography and post-production handled in-house.
Every project starts with a treatment. Every shot has a reason. Every edit tells a story that was planned before the camera rolled.
Eric Curt Peters holds a Transport Canada Advanced RPAS certification and operates as director, DP, and drone operator across all DIRXECP productions. Co-founder of FPV Manitoba.
MUSIC VIDEO INQUIRIES
BASED IN Winnipeg, Manitoba — serving artists and brands across Western Canada.
DIRXECP
Cinematic video production. Music video. Commercial. Drone. Winnipeg, Manitoba.
THIS PRODUCTION
Brett Mooswa x Okema Music Video — 2026
Directed by Eric Curt Peters DIRXECP
BTS Photography Matthew Merkel
PA / Grip Tyler Shingoose
Studio No Fun Club, Winnipeg MB
CAST
Okema Verse 2 / Hook
Brett Mooswa Verse 1
Michelle Chubb The Girl
Joey Stylez Featuring
Mattmac On-Screen Engineer
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