The Director of Photography on how he learned his craft shooting promos, his contribution to the RAYE video that earned him a nomination at this year's UKMVAs, and the downside of showing off to your kids.

With hundreds of promos to his credit, David Wright (above left) has been one of the most prolific cinematographers working in the British music video industry over the past decade. He has pointed his camera at artists such as Charlie XCX, Skepta, Stormzy, Slowthai, Dave, Fredo, Bastille, Wolf Alice, Mahalia, Muse, Little Simz, Drake, J Hus and Young Fathers - to name just a few.

Now with his considerable experience he is an in-demand DoP on commercials, and also independent features - such as the award-winning The Devil's Harmony. His output of videos may have slowed down, but his outstanding work on the epic video for RAYE's Genesis earlier this year was recognised at the recent UK Music Video Awards, where he was nominated for the Best Cinematography in a Video prize for the first time.   

Which felt like an opportune moment to catch up with David to ask for a Snapshot of what he's up to right now. 

Name: David Wright

Birthday: Born in the 80s, grew up in the 90s, moved to London in 2005.

Where did you grow up? Washington, Tyne and Wear, and Wolverhampton.

Place of further education and course (if any)? Film Studies and Production at Sheffield Hallam University – at the time, the only place where you could practise on 16mm film.

Where do you live now? London

What were the important first projects for you, in terms of a learning experience and getting noticed?

Early music videos for artists like Young Fathers, Charli XCX, Jungle, Little Simz and Wolf Alice were crucial in confidence building and finding out what worked.

Later, I really embraced shooting film, particularly returning to work for Wolf Alice on Yuk Foo and a video for Art School Girlfriend called Distance. I even started to print digital when we couldn’t afford a lot of film rolls, such as on Slowthai’s Inglorious and Kodaline’s Wherever You Are.

Early videos for artists like... Wolf Alice were crucial in confidence building and finding out what worked.

Best film you’ve seen this year? It’s a toss-up between Dune II and Anatomy Of A Fall. Both were excellent in their own ways.

Favourite song/album/music artist this year? Not Like Us by Kendrick Lamar.

Favourite music video/videos you’ve seen this year? Parking Lot by Mustard featuring Travis Scott.

Name a film or video or other creative work that had a huge influence on your career choice?

For music videos, I was introduced to the Directors Label DVDs when I was 16 – Glazer, Cunningham, Gondry and Jonze. Their work, especially Jonathan Glazer’s, had a profound impact.

Glazer's creativity in videos like [Jamiroquai's] Virtual Insanity and [Radiohead's] Karma Police was inspiring, but what stood out was every video felt original and incredibly inventive. The idea that a single, bold concept, when executed with the right sensibility, is all it takes to create a truly iconic video; he did it again and again.

A single, bold concept, executed with the right sensibility, is all it takes to create a truly iconic video.

In terms of the music video-related jobs of the past year or so, what were the most rewarding creatively, and why?

Definitely RAYE’s Genesis video. It reminded me why I love promos. We experimented with various formats – 35mm, 16mm, 8mm, Alexa LF, Thermal, iPhone and had a range of equipment to play with such as cranes and experimental camera accessories.

RAYE and director Otis Dominique were very engaged with idea that we collaborated together. I was able to suggest things like separating the mouth in the glass from its background, the in-camera repeating infinity effect (from live video feedback) and ordering custom Gobos with the Genesis logo for the Source Fours. It was so satisfying to be able to embellish their project with extra details like those. 

[On Genesis] we experimented with various formats – 35mm, 16mm, 8mm, Alexa LF, Thermal, iPhone.

What are your favourite other (non-mv) projects of the past year or so?

I recently finished post-production on a feature film that I’m hopeful will catch some attention. The director is an artist and wanted to pepper the film with classical framings from painters such as Velazquez and sometimes use trance-like, surreal sequences to tell the story. The film, Two Neighbours (below), is a dark, funny, hypnotic fable about jealousy and femininity. I’m excited for its release to see how people will interpret it.

What’s the most surprising thing that’s happened this year? Being nominated for a UKMVA for Best Cinematography In A Video. Feeling very honoured.

I make a point to offer advice freely and I think mentoring should be done more widely.

Most annoying/irksome thing that’s been going on this year (work-related or otherwise)? Dislocating my shoulder was particularly irksome! My takeaway is not to try too hard to impress my young kids.

Your top suggestion to change and improve how the music video industry works? Personally, breaking into the industry was a challenge for me. I would have benefited greatly from a mentor, so I appreciate the difference that can make to emerging talents. I make a point to offer advice freely and I think mentoring should be done more widely.

What are you looking forward to most for the rest of the year - and next year? It’s just a privilege to keep on shooting, so I hope to continue working with new artists and new directors - and my friends, of course.

• David Wright is represented by UTA for music videos, commercials and features. Contact David's commercials and promos rep Polly Hartley for more information.