We spoke to the Pulse-signed director about his breakthrough into the big time, making a video for one of American hip-hop's most visually astute superstars.Zac Dov Wiesel has been making great strides in the past few years. Since his videos for flamboyant rapper/singer Rodney Chrome, including the mesmerising To The Money, started getting word-of-mouth buzz in late 2022, the Australian-born, LA-based director has been seen as one to watch, potentially a major talent in the making.That was reinforced last year by a brace of dazzling VFX-fired videos for alt-pop artist Audrey Nuna - and that video for Aussie disco-pop outfit Confidence Man: the 'naked-in-a-helicopter' one for I Can't Lose You. And Dov Wiesel also signed to Pulse Films' directors roster for good measure.Now after showing that considerable promise, Dov Wiesel has struck gold with the new video for rap queen Megan Thee Stallion. She is an artist with an iconic presence in numerous music videos - for her own songs and in collaboration with other artists - and Dov Wiesel's promo for Whenever is a classic Megan video in every sense. It’s precision-tooled to showcase her considerable combination of unbridled physicality and unphased sassiness.The video is a series of visually striking vignettes within a surreal 'waiting room' scenario, and he brings a welcome sense of deadpan humour and a knowing nod to absurdity as Megan steamrollers confidently through this dreamworld.So, with release of Whenever, we asked Zac Dov Wiesel (above, on-set with Megan) about the making of the video and discovered that once the job was confirmed, it all happened very quickly... PROMONEWS: How did the process start for you on this project? Was there a video or videos you've made that led Megan’s team to reach out to you?ZAC DOV WIESEL: I was meant to work with Megan’s team last year, so they were familiar with my work. Beyond that, I have no clue what attracted Megan and her team to my work!What kind of brief did you get with the track?ZDW: I got a series of images from her team. Some of the images I really connected with and just sparked lots of the sets we saw in the video.Did you pitch one idea, or several?ZDW: I pitched one idea that I believed in. Megan's original brief was super-strong, so I felt like I knew what I wanted to do. At the end of the deck I did sneak some alternate editorial set-ups that I liked but didn't know how to make them fit into the scope. None of them made the cut though. You only get one shot, do not miss your chance. This opportunity comes once in a lifetime, yoMegan is a star. It's always fun working with someone like that.Did you get to communicate with Megan or her team during this stage?ZDW: The treatment was a super-quick turnaround, so I didn’t communicate with her team. But once I submitted it, they were super-quick for feedback and to start the conversation. Everything moved pretty fast. Vroom vroom.What do you think was the key idea in your treatment that won over Megan - or was it a number of things?ZDW: I am not sure!! I never asked her! The design of the deck was super-nice and clear, which is something I struggle with making work all the time. Definitely a top three deck of mine.Did Megan bring her own ideas to the table, in terms of characters and looks? Or did you create the ideas for the characters she plays, and you collaborate from that point?ZDW: Yes, she did! Originally a scuba diver was featured in the video as an extra, but after our first phone call she was super-excited by the idea of being that scuba diver. She had some great specific references for that look too. The challenge was making that work within our day, and that meant doing a 'scuba' look without getting her wet. Liam Moore, my production designer, showed me this amazing Sade reference for No Ordinary Love which ended up being the best solution. Also, lots of references she sent inspired many of the set-ups in the video. Orange and Clocks were heavily featured in the brief. Once I submitted the treatment Megan's team were super-quick with feedback. Everything moved pretty fast.How long did you have to prep the video between approval and its shooting?ZDW: Five days from greenlight; so it was super-fast and furious. Super grateful for my team who supported me and allowed things to move super-quick.How did you approach directing Megan? Does she need or ask for much direction? ZDW: Megan is a star; it's always so fun working with someone like that. The level of production polish is on a different level to what we’ve seen in your work before. Was it challenging making that adjustment - or just enjoyable? ZDW: It was something that making a Megan video called for. I love trying different things and having the ability to just be so tapped in with all the heads of department is so fun. The control of studio builds and studio days is something I would love to keep doing. It makes for a fun day.What were the crucial things you had with this project to make the vision you wanted to make?ZDW: My friends and my team made it so possible. The DP who shot this, Shane Bagwell, was the first DP I had ever worked with seven years ago. Will Noyce who produced this alongside Pulse in LA, had been on some of my first sets in America while I was a student. And Liam Moore, he really showed up and #out on such a short timeline, really making everything come to life. Pulse Films also empowered me to flourish like a butterfly.What was your overall objective with the Whenever video - and did you achieve everything you wanted?ZDW: I wanted to find a way to ground these random editorial images into one space and environment. I thought that would be a great challenge. Do something extremely editorial and beauty-focussed and seemingly random but connected. So, to me I felt like I did achieve everything I wanted.We really shot every single shot we had shortlisted, so shout out to the AD Lane Stroud. Lane also taught me how to handstand properly. Doing handstands is a great way to regulate your nervous system while on set.• Zac Dov Wiesel is based at Pulse Films for music videos and branded content, represented for music videos in the UK by Hands. More of his work here.

Allie Avital's fifth video for Moses Sumney, released last week, sees the artist with the soaring voice undergo a humbling transformation: he becomes an ancient version of himself. Inspired by the lyrics, Avital has created a quasi-literal interpretation of the song, Me In 20 Years, with Sumney as the very old protagonist suffering in a grim mid-20th century setting, flecked with magic realism.We talked to Allie Avital about the making of the video - filmed at the end of last year - and discovered that in shooting the video in a Soviet-era tower block in Kiev, she tapped into her own family's Eastern European roots. She even had the chance to direct in Russian...For previous videos that you’ve made with Moses - you have sometimes come up with the original ideas for the video and other times built upon Moses’s initial ideas. What happened in the first stages with this one?Initially, I heard the song and texted Moses that I absolutely HAD to make the video for it. On a call, he told me the lyrics and what the song was about, and within a few minutes I said “wait, what if we make you old and then have a pulsing crater next to you in your bed and then eventually you get sucked into it?!” It’s funny because it’s such a literal illustration of the lyrics. But it’s a good reminder that sometimes you don’t need to over-complicate or intellectualize these things; the feeling and the imagery was already there in his words. Once I saw the story in my head, it made me want to cry whenever I imagined it, and so I knew we needed to make it. Luckily he was into it, so we developed it together from there.Once I saw the story in my head, it made me want to cry whenever I imagined it.Was it a conscious decision to repeat that dreamlike and haunting atmosphere that you have achieved with the previous videos?Not really. I do think there are parallels, but they emerged unconsciously. When we work together we never really talk about atmosphere or tone referentially, it just evolves from the ideas themselves. There was a lot of intention in the symbolism of the crater, as well as all the details such as rotten avocados and lemons in the fridge, the spilt milk, the nostalgic shirt. I suspect the dreamlike feeling comes from those elements being meaningful and carefully thought through.Above: Allie Avital on set on the Me In 20 Years shoot (pic: Nastya Roshuk) How did you go about transforming Moses into such a convincing version of himself as an elderly man? And how much older is he than actual Moses?All credit goes to Marta Skalska, who did hair and makeup at the shoot in Kiev. She’s an absolute genius. And then Moses spent all day 'in character' as an old man which helped too. Part of the joke is that obviously Moses wouldn't be this old 'in 20 years', but I suppose it’s accurate in terms of young people’s projection of themselves when they age.Fun fact about the aging: his fake moles were inspired by those of Morgan Freeman.The crater on the bed, is one aspect of the atmosphere of the video managing to be both literal and magical. What does it represent?It’s about absence and negative space. One could interpret it as an absence of someone who was once there, or absence of an 'other' to begin with. It’s also the ever-present pulsing pit of your own mortality waiting to engulf you... uplifting stuff like that.Did you spend much time thinking about the world in which the elderly Moses lives? How would you describe it?Originally we thought of it as a castle, like a modern hunchback of Notre Dame, or kind of a reverse Rapunzel. But then when we started looking at locations in Kiev, we fell in love with the idea of setting it in a Soviet apartment block. We liked that often loneliness exists within close proximity to so many other people, and I love when “magic” is grounded in such a relatable reality.The crater? It's the ever-present pulsing pit of your own mortality waiting to engulf you... uplifting stuff like that.It was especially personal to me because so much of my family lived and died in these Soviet buildings in Russia, cramped with many other families to a single unit, so that added another meta-layer to the whole thing. We knew we wanted a lot of ornate texture in the walls, but then to light it very dark and to age everything. We worked with the brilliant production designer Sergey Vinnichuk to design every inch of the space, with a lot of thought as to who this character was. There are details such as old books and kitchen appliances that aren’t even seen on camera but added to the cohesive quality of the environment.Above: Moses in the monitor on the Me In 20 Years shoot in Kiev (pic: Nastya Roshuk)When did you shoot the video? What were the challenges on the shoot day?We shot in Kiev in December of 2019 with Radioaktive, and it's one of my favourite shoots of all time! I got to direct in Russian for part of it, which is my native language but I’d never been to Russia or Ukraine before so that was quite special. The shoot went relatively smoothly, but getting those opening and closing shots through the windows was an ordeal. It’s three shots stitched together: a drone shot of the building we used for exteriors, a shot of our interior from the outside, and then a shot of our interior from the inside. They all needed to be matched up and from matching angles, so it was a very technical effort. There was also the spilling of the milk over and over, and the physical hole in the bed that Moses falls into. It was a long full day.I got to direct in Russian for part of it, which is my native language [even though] I’d never been to Russia or Ukraine before.The cinematography of the video plays a huge part in the atmosphere. Was that all there in the footage shot by DoP Logan Triplett, or something that you pushed further during the post process and grading?Logan and I were really diligent about creating a look that served the story and kept pushing for something that felt really unique and un-trendy. Our process with Logan is always very instinctual; we’ll look at some images but then try and forget them so we don’t reference anything too closely. We decided to shoot digitally and then run the finished video through a 16mm scan to blend the sleekness of the crater VFX with the footage and give it some texture. The post process was nuts - we had Erik Ferguson the animator building the crater on our digital footage - some of it was fully CGI - then B.Art VFX doing cleanup and compositing the crater, then stitching together the opening/closing shots with the crater in them. Then it was pre-graded, then that was run through a 16mm scan, and then sent back for additional grading on top of the scan. But everything was quite intentional every step of the way.Above: Allie with DoP Logan Triplett on set (pic: Nastya Roshuk)What adjustments to the story, did you make during the post production process, if any?None! If I look back at the treatment and the animatic for this video, they’re almost identical to where this ended up.There’s often an eye roll when a musician wants to direct... but I can attest that Moses really does have the talent and instincts for it. Your videos were for Moses’ earliest releases. This one is your first from his second album. How has he changed as an artist, in terms of what he wants to achieve and/or his capabilities?It’s exciting to see Moses’ artistry evolve not just as a musician but as a filmmaker. When we first worked together he was new to film but was very intrigued by the process, always wanting to learn. I know in our world there’s often a bit of an eye roll when a musician wants to direct their own videos, but I can attest to the fact that he really does have the talent and instincts for it! Him and I are cooking up some bigger plans together as well, and I’m always inspired by his multi-hyphenate ways. It was refreshing to direct a video for someone who understands filmmaking a bit more; it made for a more grounded process.• Allie Avital is with Smuggler, and represented for music videos in the UK by Claire Stubbs at Mouthpiece.

In Coldplay's latest video, Chris Martin plays a bullied schoolboy - an unlikely idea perhaps, for pretty much anyone other than French director Cloé Bailly (above right, on set with Martin).In Champion Of The World, Bailly showed that her visual imagination and talent for fusing fantasy with an edge of gritty realism could work for one of the biggest bands in the world.We spoke to her about the project and the challenges for turning Martin into a schoolboy who is forced to repeatedly escape reality, and into his own dreamworld.What kind of brief did you get from the band on this? Did they provide a basic idea of what they wanted to happen?CLOÉ BAILLY: Coldplay’s brief was pretty open. They wanted a whimsical, poetic world away from realism. They also suggested Chris would be up to play the young boy.What were the important ideas that you presented in your treatment that really appealed to the band?I think they liked the narrative which really worked with the lyrics of the track, but also the surrealistic take. Dreams, fantasy and imagination were a major part of the concept which I guess really appealed to the band.Chris really trusted me... he is a natural performer, even though he’s not a professional actor.Did Chris Martin take any convincing to play a young schoolboy?He was very much up for it, not questioning anything, not overanalyzing or anticipating at all. He really trusted me which was extremely motivating and productive on set! Honestly, I didn’t have to direct him that much. He’s a natural performer, even though he’s not a professional actor. He adopted the body language and the facial expressions of a bullied boy very easily, without ever overacting.You’ve created something that is both sad and uplifting, as we move from reality to fantasy world. What were your main references (films, etc) for achieving that mix of sadness and feelgood?Definitely Gondry’s Eternal Sunshine of the Spotless Mind and Danny DeVito’s Matilda - but also Wes Anderson’s Rushmore. These are three masterpieces which, even though they’re very different, carry the same whimsical melancholy.Dreams, fantasy and imagination were a major part of the concept which I guess really appealed to the band.The location was obviously very important for the right tone. Where did you go to shoot this?L.A. We mostly shot east side and downtown.What were the biggest challenges leading up to the shoot?We thought we’d never manage to shoot everything. There was so many shots, so many locations and so many constraints: shooting with kids, operating a drone over a school, switching from Chris to his child’s version in each location. Just thinking about it I want to go take a nap :)Sounds stressful! How long was the shoot, and did you end up with everything in your original script/storyboard? Was there anything that happened that didn't really work out on the day(s) - and anything that ended up being a bigger part of the video than you originally planned?The shoot was two days long and - obviously - absolutely packed. Everything had to be shot twice - the Chris version and the kid’s version - and shot with the normal camera as well as with the drone. On the first day we shot in a studio - the bedroom, the kitchen and the greenscreen. On Day 2 we shot the school scenes, then the streets scene, then the house.Surprisingly and against all odds, we shot everything that was planned and storyboarded. We never thought we could achieve it. Of course there had to be some tweaks and readjustments but overall everything just worked out.Chris was riding his bike in the street on his own, I was running after him… quite absurd but hilarious.The whole video is lovely, but was there any part that was particularly enjoyable shooting, and you're really pleased with?I totally underestimated the street scene until we edited and VFX’d it, which is only when I realized how much I loved it. When we shot this scene, the atmosphere was light and fun at this point because we were reaching the end, which made us relaaaax. Chris was riding on his bike in the street on his own, gone with the camera rigged on the bike… I was running after him… It was quite absurd but pretty hilarious.The scene where the vehicles start to take off around Chris on his bike, is probably the most spectacular part of the video. Was that the biggest challenge when it came to the post production, or was it something else? The challenge on set was shooting everything we needed before the sun went down because we shot it at golden hour. Then second and biggest challenge was definitely post-production. The incredible Martes Studio from Barcelona, Spain, absolutely nailed it. For them the challenge was dealing with a magical/surrealistic element in a daily environment, and making it look integrated. 3D Lighting and compositing was the key to make it work. Also colour treatment helped to make the cars look more real...The drone shots were done for real... Drone Dudes navigated the drones with incredible ease, even when they had to aim for a tiny mouse holeThe latter part of the video features a series of drone shots where the viewer sits on top of Chris's toy rocket - including inside his kitchen at home, and into a school hall where the boy is playing has a full house. How much was the drone footage done for real, how much was created in post?Everything was done for real. The wonderful team of Drone Dudes absolutely nailed shooting these precise and complex shots. They used a GoPro on a small racing drone as well as flying the big drone with the Alexa Mini. They navigated the drones with incredible ease, even when they had to aim for a tiny mouse hole (in the kitchen). What we created or smoothed in post is the transitions, then the topshot at 3’ over the street with the surrealistic moon decor, and then everything was created by Martes Studio from the exit of the mouse hole till the end.The band performance footage in Chris's Viewfinder creates a different, more handmade aesthetic. How did you create those environments around the band? Again, the wonderful Xavi Trilla, Roger Amat and Joan Molins at Martes Studio created the environment. I gave them directions - I wanted something more vintage-looking that contrasted with the rest of the video and looked more homemade - then we brainstormed and the guys proposed me ideas. They found some footage on reference banks and tweaked them.What’s amazing with the guys from Martes Studio is that they’re not only strong technicians. They also have a lot of humour and are very creative, so they push the VFX to another level. It is wonderful for a director who isn’t technical like me, to be able to brainstorm and talk creatively with VFX artists.Martes Studio in Barcelona nailed the challenge of dealing with a magical/surrealistic element in a daily environment, and making it look integrated.Filmmaking is always collaborative, so apart from Chris and the band, who were the important collaborators with you on this project? Definitely the guys at Martes Studio, as mentioned above. As soon as I got the brief, I contacted them to discuss my ideas and improve them with their input and technical advices. All along the creative process we’ve been going back and forth which was extremely reassuring and inspiring.Then Patrick Meller, DoP, of course. I had already shot an Axe campaign with Pat and absolutely loved working with him. He’s an incredibly strong technician who also has very good taste in terms of cinematography. A true artist. It’s very inspiring to exchange references with him. Pat challenges your choices and pushes you as a director to always make your piece better. He has been a very supportive and invested collaborator on this project.The stylist Bex Crofton-Atkins was a key collaborator as well. Not only because she creates worlds and characters just with one outfit, but also because her investment and vibe on set was such a game-changer. Definitely makes the whole experience a better, more pleasant, more inspiring process.Fernanda Guerrero, Production Designer, has been a great collaborator on this project too. She really has created powerful, cinematic worlds in each location.And finally, Daniella Manca, EP, has been a key collaborator. From day one till the release she has advised me and supported my ideas in the best possible way. She has believed in this project and has done everything in her power to make it exist, which I’ll never be thankful enough for!• This episode of Behind The Video is a co-production by Promonews and Caviar

Thank God for Boasty. Henry Scholfield's video for Wiley, Stefflon Don and Sean Paul's track - featuring the one and only Idris Elba - arrived last month, and duly smashed through the doom and gloom of Brexit Britain. It's a hugely entertaining, non-stop expression of the vibrancy of modern London, a celebration of street culture, and, perhaps above all, a statement about the musical powerhouse that is Grime. And with the absence of Wiley, the mainman himself, from his own video, it's a precocious 9 year old Londoner called Brooklyn who plays a massive role in its success.So we spoke to four people crucial to the making of the video - director Henry Scholfield, executive producer Daniella Manca, editor James Rose, and commissioner John Hassay - to ask how they did it, particularly with the problem of Wiley's non-involvement, to make a probable contender for Video of the Year. Questions by David KnightPhotos by Claudia De La Mata So starting at the beginning. How did it all get going? JOHN HASSAY: I’ve tracked Henry’s career for 10 years. I knew he'd be great for this, so I sent the brief to Caviar for him. They said he was on holiday, so he was very unlikely to do a treatment. But then, the next day he sent a video pitch he made, from Sri Lanka. It was so good.What made you go for this one, so quickly, Henry?HENRY SCHOLFIELD: The track! I listened to it before knowing who was on it. I’ve always been a big Wiley fan anyway. The idea literally came into my head that first run. Then I realized who was on it, and was like, 'this is killer quartet of awesome artists'. So I shot a little video treatment/test an hour later - and that was it.I wanted it to feel like a very much heightened version of ‘A Day In The Life Of’.You learned the ropes directing grime videos back in the day for Professor Green (like personal favourite the Upper Clapton Dance). Was it a case of drawing on that experience, and/or wanting to get back to that world, and raising the bar on classic grime videos?HS; Nicely put. Like you say, it was the scene that first inspired me into music video making in the first place - stealing my sister’s Handicam, going to venues to shoot battle raps, and try to interview artists. Working with Spyro on his videos a couple of years ago was a real re-inspiration. To me grime’s about being inventive and maybe that’s why it’s a great medium for videos.Daniella, Henry must be getting tracks all the time. Do you have a rule about what is worth sending on to him?DANIELLA MANCA: Generally when that track lands in your inbox you’ll know pretty quickly if it's got legs. Ultimately it has to have something that can spark a killer idea. Doesn’t matter the genre, featuring artist, or potential hurdles.He was first into casting, playing a Nintendo with a comb stuck in his Afro. We knew we had our prince.How did you plan out the production?JH: When Henry did his animatic - playing all the different parts - we knew a technical approach would work. He is a mega talent!All the parts? When can we see it?HS: It’s under lock and key, especially the Steff bit! It’s true, I do this a lot on mapping out timings and transitions in vids. Not always playing the parts myself, mind.So the shoot with Sean and Steff came first?JH: We shot Sean and Steff the day after another video for them both. It's fair to say Steff was slow out of the traps, but it was worth it! Peckham High Street was literally at a standstill for her performance. And Idris was a dream. Captain America levels of charisma. He rattled through his parts.Peckham High Street was literally at a standstill for Steff's performance.We find the different stars in different situations, as if it’s part of their normal lives, and we’re cutting into it. Were you able to give them ‘back stories’ for their roles?HS: Totally. I wanted it to feel like a very much heightened version of ‘A Day In The Life Of’. A little back story goes a long way, and all of the artists were very much up for it. Like Sean P never asked ‘what’s up with me in the back of this van?’, and Idris loved the idea of his (wonderful!) missus Sabrina dropping in the ‘Jeeez’ when he gets a bit uber-Boasty.Did you know places you wanted to shoot when you created the treatment?HS: Yes and no. I knew to have Steff in a salon, then owning the South London streets. And Idris is a Hollywood reporter-style photo shoot. But we were gonna shoot a bit more all over the place – or rather the world. But then luckily we found a window to have all the artists in London. Then it was just a case of coming up with ideas of what worked best for the story, and upping the escalation of the clip.Idris loved the idea of his missus Sabrina dropping in the ‘Jeeez’ when he gets a bit uber-BoastyIs there a key or trick into making regular London locations (ie the hairdressers, the pool hall, the chicken shop…) into more ‘music video’ versions of themselves?HS: For sure. An excellent DOP - the very talented Kanamé Onoyama - and skillful set dressing - thank you, Mr. Oian Arteta. Beyond that, just a bit of imagination to re-see what you’re used to with fresh eyes.The transitions are hugely important. How difficult was it to get them right in the edit?JAMES ROSE: Henry’s great at seeing both ends of the transition, which means there’s more room for me to have fun. There's always a bit of finicking, but when the timings are good from the off then you're free to noodle through options, rather than have to work really hard to make the 'one' work.Now the obvious question: was the original plan to feature Wylie with his co-stars?JH: Yep. Fair to say the big man was indisposed. I knew we’d have limited time with all artists, but didn’t realise how it would pan out.HS: Unfortunately Wiley missed his flight, then wasn’t around for a bit…JH: We tried to shoot a stand-in, but it didn’t work not enough charisma to stand up to talent.HS: It kinda made sense to get in a big character in the shape of our little man. And Brooklyn (the boy) totally killed it!It kinda made sense to get in a big character in the shape of our little man. And Brooklyn totally killed it!JH: Henry just said: ‘It’s a Wiley video! This is what happens.’ Facebook reminded me that a decade earlier Wiley failed to show for ‘what do you call it’ a video I was producing for Adam Smith. So we cast Brooklyn.He was first into casting, playing a Nintendo with a comb stuck in his Afro. We knew we had our prince. He's a very cool kid - a wee man in a 9 year old’s body. Then we shot two weeks later. We had to fit round a big commercial Henry was doing on the DL.How did the shooting plan change?DM: Despite shooting an extra day, the plan stayed pretty close to the original. We had to keep it as a well-oiled machine to maximize all of Henry’s transitions and set ups.What stands out as the biggest challenges?DM: The beauty of promoland is in part the constantly changing goal posts. I can maybe count on one hand the promos that have been consistently smooth, but actually I prefer the challenging ones. It means when you finally deliver it, there’s an even bigger sense of achievement! On this one, probably getting all of the footage with Brooklyn was a challenge. But he smashed it in rehearsals with Henry so on the day we rolled on through.[Grime] was the scene that first inspired me into music video making in the first placeSo when did you shoot the intro convo between Brooklyn and W. Was that always planned?JH: The intro was bootlegged on the day. We felt we had to both own and explain Wiley absence. The video game fits the narrative, and Boss Baby Brooklyn completely nails the tone.When did you get Wylie’s audio contribution? That is Wylie, right?JH: That’s Henry sampling other interviews with Wiley. He is quite the fan. I don’t think I’ve ever had a director so across the artist and music before.And likewise with the other cast members – there’s always something going on in the background, so its interesting to watch again and again. What was their brief? HS: Things like: ‘You gotta be super-serious on these mini-motors’, ‘Mr. Elba, would you mind handwriting some lyrics to put in the beak of this falcon?’ ‘You bro, when you see Steff you’re gonna be falling off your bike’… etc. That kind of thing pretty much.Even if no-one else notices, I really get a kick out of details in the background. Big Up to Ruben Dangoor for letting us feature his excellent Wiley work.Did you have much leeway in the edit to get the best bits of different takes without affecting the flow of the whole video?JR: When you’re dealing with long takes, the flow of the video doesn’t come from the cuts, but from the transitions from one take to another, so choosing the best takes is doubly important.Did Wiley shock everyone by turning up for the edit?JR: No, didn't meet Wiley. I have met Wretch 32 before though.• A Promonews and Caviar production. Behind The Video is a series of sponsored content on Promonews. For more information, email info@promonews.tv