Welcome to the Church of JADE, as the Brit Award-winning singer breaks new ground once again in Billy King's hyper-stylised promo for Church.The highly entertaining video plunges JADE into a camp-folkloric universe, boasting an array of gently surreal, fully iconic, and delightfully absurd set pieces. Working with creative director Maximillian Raynor, King creates a gothic, theatrical world, building a non-Christian, queer ritual space and plays into the obsessive nature of the 'cult of pop'.Elevated by creative composition and awe-inspiring outfits by Raynor, it's a carefully considered vision and a complete tour de force.

Ruairi Robinson directs an epic, AI-generated promo for David Guetta's team-up with Dimitri Vegas and Loreen, showing the fight against evil in a post-apocalyptic world.A cinematic trip from start to end, the video for Pum Pum is one of the most realistic AI videos we've seen so far, helped by the quick-cut, frantic aesthetic and dystopian visuals. Though close-ups and lingering shots on faces still give an uncanny valley vibe, it works with this concept, and is a sign of how far the technology has come in just a few short years. "When I first heard the song, the first spark of the idea was an epic post-apocalyptic motorbike race, then I threaded in a Kill Bill-style revenge story and cranked everything up to ridiculous levels: revenge, robots and epic action," says Ruairi Robinsin "Basically, a movie for my boyhood self. Ie Akira, The Road Warrior, Ghost in the Shell, and Jurassic Park all thrown into a blender."Not ripping them off, but chasing that same pulse I felt watching them as a kid. The next challenge was turning Dimitri Vegas, Loreen and David Guetta into believable photorealistic characters in this world: something most AI models are terrible at. I needed them to look consistent, realistic, expressive and able to sing. I tried just about every AI tool in existence, and quickly learned a useful rule: the more loudly a model is hyped on Twitter, the less helpful it tends to be in production."Most commercial closed models fall apart when continuity’s involved. If you have a motorbike turning around, the model doesn’t know what the back looks like and it just invents it differently every time. So for a lot of shots I turned to a Chinese open-source model called WAN, which lets you train almost anything the base model can’t handle. The artists sent me selfies with every expression imaginable, and we collaborated with the Conductor software platform that connects multiple AI tools through a proper render queue. This helped coordinate a small team to handle training. Utilising various cloud systems we tested different setups to see what worked best. Vehicles started as single renders, then I used additional tools to generate alternate angles and lighting, building datasets to train LoRAs, so I could drop those vehicles into any shot."The catch with LoRAs is “concept bleed.” If I trained Loreen in battle armour next to a robot, they’d start merging. For example, Loreen with cables and the robot with long hair, a sort of 1980s Cronenberg mutation. To fix that, I used a WAN tool, which swaps trained characters into existing scenes. It sounds straightforward, but nothing in ComfyUI ever is; it’s Houdini for AI — a tangle of spaghetti nodes that somehow works, sometimes."

Eve Mahony directs an emotional performance by South London singer Skye Newman on multiple formats.Skye delivers a quietly powerful confessional in a visual that balances simplicity with emotional weight. Shot to match her delicate production, and project her charisma and soulful voice, the video is shot in deserted streets and industrial spaces, bathed in late summer sun.Entirely focussed on Skye, with elements shot on Hi8, the video draws into her story.  A family-rooted meditation brought to life.

The first of two videos for returning pop singer-songwriter Maisie Peters by James Ogram sees Maisie on a journey through an idyllic version of the English countryside.The video for Audrey Hepburn starts with Maisie walking in front of a pale pink sky, that we discover is a back projection. Then as darkness falls she follows a bright light through to a country garden or forest at nighttime. It provides a mysterious and magical setting for Maisie's reflections on a fading love affair. "Audrey Hepburn struck me as a song both about the past and the future - about finding a new start by returning home," says Ogram. "It felt right to put Maisie on a journey in this video. We watch as she follows this phantom-light and traverses the countryside in the ethereal nighttime."