The masked Mancunian rapper is back - and he turns up in a mindblowing location in the video for Eazy, directed by Italian director and visual artist Pietro Biz Biasia.Biz Biasia takes Meekz on a late-night mission through the labyrinthine canals of Venice in Italy, where he embeds himself in the iconic centuries-old architecture and artworks of the unique city.This is a propulsive and very atmospheric piece where the vision veers more towards Don't Look Now-style chills in Venice's darker corners, rather than the tourist hotspots. The director's skill with VFX adds another layer, as Meekz is added to masterpieces of Venetian art and eventually becomes his own Renaissance statue.So Meekz looks just at home, doing his stuff near the Grand Canal as the Grand Union Canal.

Multi-Grammy winning artist Imogen Heap and London-based Ukrainian director and editor Daria Korsak have created a remarkable 14-minute experimental music video, incorporating numerous techniques - including CGI and AI - for Heap's epic composition I AM ___. Two years in the making by the veteran musician, singer-songwriter and producer and Korsak - who arrived in the UK having fled the war in Ukraine in 2022 - the visual for I AM ___ is a sensory journey that explores the personal and the political by immersing the viewer in five visual worlds: from the heart of a microchip, through a brain full of bittersweet romantic memories, into the depths of AI consciousness, inside the eye, and finally through the shifting perspectives of machine and human.Blending CGI, processed archival footage, macro liquid patterns and VFX-heavy live action, the effect is to hurl the viewer into the the fractured mind of a modern human-machine, caught in the turbulence of personal exploration, geopolitical upheaval and an accelerating technological revolution. Ultimately, the film explores how we could hold onto our humanity and find peace amid the chaos of an ever-evolving world.It's also the result of a close collaboration between the artist and director, that mostly took place in 'after hours' time while Korsak worked full-time as an editor and navigated a new life far from Ukraine, and lived with Heap as her guest after her departure from her war-torn homeland."I fled Ukraine in 2022, and Imogen kindly offered to host me in her home – first for six months, then for several years," she explains. "She was working on the song, and I said I wanted to create a music video for it. I’d never directed anything before, so it seemed like an overly ambitious idea – and it grew into something even wilder than either of us expected."AI was used as a creative instrument to support the film’s theme of human-machine symbiosis – specifically, to process archival footage for the Noise section, which was then re-edited frame by frame and integrated with live-action and CGI.In a statement on her website, Imogen Heap says: "Neither the song I AM___ nor the music video were 'created by AI.' The song as well as this music video were created by dozens of human artists over the past few years."For clarity, the utilization of AI was done strategically and specifically... For the “Noise” section of the music video, the artist Robert Seidel used personal video footage from my phone that was relevant to the song’s theme (the audio of those videos is featured on and off for a couple of minutes in the song). He processed those videos through the model Stable Diffusion... [before it was re-edited by Korsak]. After which, half was turned into particles by the VFX artist Falk Müller."Korsak adds that working on this long-term project was also integral to dealing with the challenge of living in a new country, and she acknowledges the help of Deadbeat Films, the production company who were particularly invoived in the first stage of production in 2023, and producer, live action director and co-writer Boris Thompson-Roylance. "Forced migration left me feeling torn between places, cultures and systems much larger than myself. I AM ___ became a way of translating that fragmentation into something tangible," she says."A lot of people have told me the Noise section feels like an accurate visualisation of what’s happening in their mind on an average day. If anything, I hope the film makes viewers feel a little less alone inside all that chaos of modern life."

Douglas Hart has compiled footage of the extent of devastation wrought on Gaza, intercut with mind-boggling footage of buildings being bombed, in this powerful film accompanying a track by The Five Techniques - a collective of artists who believe music, art & humanity can be acts of resistance - featuring Paul Weller and Irish-Palestinian singer Roisin El Cherif.The Five Techniques is a music project created by Belfast DJ & producer David Holmes, and all proceeds will be donated to Medical Aid for Palestinians (MAP). More on the project here.

Entries are being accepted for the Cinematography In A Music Video Award at the annual British Society of Cinematographers Awards - with the deadline for entry being tomorrow, Saturday December 13th. The Cinematography In A Music Video Award - which was introduced for the first time at last year's BSC Awards - is eligible for cinematographers who are resident in the UK. They are able to enter music videos that had an official commercial release between the December 1st 2024 and November 30th 2025.All the rules of eligibility, and the entry form can be found at the BSC website. The deadline for all entries to the Cinematography In A Music Video Award is this coming Saturday, December 13th.

The feisty Girli fronts a band performance of new single Better Undressed in her underwear, appropriately enough.Although it becomes clear that Sarah Dattani Tucker's breezy new video for the ever-visually adept Girli is operating in a retro DIY aesthetic that incorporates running video backwards to ensure this is a striptease-in-reverse.

New body wants to give the next generation of British filmmakers a chance to shine with innovative MVEC scheme.A new organisation, the British Music Video Association, has been established as a non-profit body to act as a voice for the UK's music video community, with its first objective securing a tax relief for British music video production.Established by hugely experienced music video producer Rik Green and film production consultant Martin Poyner, the BMVA has just released its first statement, explaining why it has been formed and announcing it's plan to unlock production in music videos via a dedicated Music Video Expenditure Credit (MVEC).In the organisation's statement - which can be downloaded here - the BMVA focusses upon the eminent role that British music videos have played in British film and culture for decades, its importance as a pathway into screen industries for young people of different backgrounds, and being "the beating heart of Britain's creative ecosystem"- a legacy that is now seriously endangered by changing market conditions.Aiming to become a "loud and united coalition" of all wings of the UK's music video community, the BMVA's plan is to build a compelling case for a tax incentive scheme similar to those established for other areas of film and TV production in the UK, making it more attractive for record labels and other investors to make music videos - resulting in more shoots, more jobs and more people developing their skills through music video production.The BMVA is now looking to commission independent research studies on the cultural and economic impact of British music videos - regarded as the most effective way to sell the idea of a MVEC scheme to the UK government. Estimating that it will require around £120K to conduct two studies by respected independent research firms, the BMVA is now welcoming sponsors to help raise the funds for those impact studies.Rik Green says that the impact studies are crucial for making the case to Goverment. "We know that if we want the government to take the MVEC seriously, we need hard evidence - solid, credible data they simply can’t ignore," he says."The best part is that, that evidence already exists. It’s out there in our industry, in all our work, in our impact... it just hasn’t been brought together in one place before and that’s exactly what we’re doing now."Martin Poyner adds that the reaction that the new initiative is receiving has been hugely positive across the board. "The reaction has been remarkable," says Poyner. "You can feel the relief that this sector is finally getting structural representation. Producers, directors, commissioners, crew, labels, the BFI, the BPI, YouTube, artist managers, talent agents - more and more bodies are coming forward, have all leaned in with ideas and support. In every meeting we hear the same thing: if we get this right, literally nobody loses."• British Music Video Association website