Everything Everything's second video for Photoshop Handsome is finally out, and in keeping with their name, the band have essentially crammed a complete manual of desktop animation and VFX to illustrate the song, courtesy of some very canny professional crowd-sourcing.Following frontman Jonathan Higgs's very specific brief, forty or so animators - marshalled by producer extraordinaire Phil Tidy - have embellished a few seconds of greenscreen band performance, following a path from idealized (Photoshopped) beauty to human imperfection - and then way, way beyond.Great stuff - and a kind of turbo-charged version of the original video (made with the help of Bolton University) last year.Phil Tidy on making the video for Everything Everything's Photoshop Handsome "So we shot the video against green screen, edited it into some semblance of strangeness, then we cut it up into chunks of approximately one second with a few longer sections. These chunks were then put as TIFF sequences into folders on an FTP site and were then assigned to a ton of post production monkeys."Adam Comisky at PEW 36 created a crazy spreadsheet where each shot was given an influence or mood for inspiration from a vomit of ideas from Jon Everything. The post monkeys mainly ignored these ideas and came up with crazy nonsense themselves. They then put these sequences back into their allotted folder on my FTP site and Simone Tennant with some of his own madness put it back together. "We had not seen more than a few chunks edited together, so when we compiled it all its was like unwrapping a present of insanity."

To celebrate their 50th anniversary, Dr Martens asked 10 artists to record their version of a cult classic track that represents the spirit of the people who've worn DM's over the past 50 years. One of the songs selected was Jason Swinscoe's project The Cinematic Orchestra's rendition of the classic, "Lilac Wine," made popular in the early 90s by Jeff Buckley. And Vanessa Marzaroli at the West Coast motion graphics outfit Blind has made the beautiful video, inspired by Spencerian calligraphy. The creative process, from Vanessa's orginal style frames to images, individual frames and the final work can be found at the Blind website. Blind have now gone on to make a further video for the Dr Martens project, for the Raveonettes. Meanwhile all the commissioned tracks are available for free download at www.drmartens.com.

In Peter Szewczyk's delightful video for the Maccabees' Young Lions, a boy finds solace from a tough world with the help of a beautiful pet moth. When his cruel father intervenes both boy and insect escape in separate journeys in search of sanctuary. Peter Szewczyk has a background in CG - having worked at Dreamworks, Lucasfilm and Weta - and was aiming to make a short loosely based on the James Thurber story Moth And The Star (he quotes Thurber on his Vimeo page: "Who flies afar from the sphere of our sorrow is here today and here tomorrow") then he realised the idea would work as a video for the track, pitched it to The Maccabees' Orlando Weeks, and took nearly two months to make it. Lovely. Peter Szewczyk on making the video for The Maccabees' Young Lions "There wasn't much of a crew. Just me and my Canon 5D. I have a background in CG, having worked at Dreamworks, Lucasfilm and Weta. I got a bit burnt out out on Avatar, and thought I try my hand at directing. So all the post and editing I did myself at home. I had a friend assist as a camera operator. Since my speciality is lighting I acted as the DoP too. A colleague loaned me her kids for a few weekends of shooting. It took just under two months to make with four days of shooting in London, and two in Iceland. "I was aiming to make a short loosely based on James Thurber "Moth and the Star" short story. While I was planning the project I noticed some parallels between my idea and The Maccabees' Young Lions. I met Orlando Weeks, lead singer of the band, through a friend and pitched the idea. He loved it but thought it would be enormously expensive. I assured him I could make it for under 1,000 GDP. In the end it cost about 750 GDP. I was on holiday in Iceland, so the footage shot there was just a convenient perk."

Kristofer Ström, hailed lots of moons ago for his virtuoso, highly influential work for Minilogue's Hitchhikers Choice, returns with this beautifully designed and directed animation for dubstep superstar Benga. Baltimore Clap follows a hapless little chap on a terrifying journey through a cavernous clap factory. A little wince-inducing - you're guaranteed be feeling your fingers after a while - but deserves a big round of applause. Sorry, couldn't resist that...

Better late than never on Promo... Petra Mrzyk and Jean-François Moriceau's hypno-erotic video for Sébastian Tellier, to celebrate the 10th anniversary of his label Record Makers, for a song from his album Sexuality. The film was first created in 3D with 2D effects using Flash and After FX and later re-animated on paper by the two illustrators.

It starts with a home video shot of a sunset on the back of a windblown pickup, heading for the woods. Then things get a lot more weird, in Chris LaGarce's utterly gripping video for the unsigned Illinois band Young Loves. Mind-expanding, edge-of-the-seat stuff - a real achievement considering the complete lack of a budget. Chris LaGarce shows an unerring eye for detail, upon which the whole premise really depends. You really want to avoid the powdery stuff floating around. Chris LaGarce on making the video for Young Loves' Rotten Fruit ? How long have you been making films Have you made other music videos before this I've been shooting shorts/films for about five years now. I'm a VHS/beta kid. I used to shoot short skits growing up and then received film degrees from SIUC in Carbondale, IL and SAIC in Chicago (I'm 26 now). I currently live in Chicago, but will be moving to L.A. in less than a month. This video is my first executed attempt at making a music video. ? Who are Young Loves and how did you come to make the video for Rotten Fruit I'm a friend of the band. I met Kevin (drums) and Nate (guitar), by going to shows. They are both in another band called The Black Forty's which tour frequently across the U.S. Then I met Arlin, who is lead vocals and guitar for Young Loves, who lives in Springfield, IL. I just started going to their shows and it went from there. ? Where did the idea for the video come from What was the inspiration for the ritual undertaken by the young men The idea came from simply listening to the song. It reminded me of several things. As a completely cliché as this is going to sound, the death of drug use as a form of expansion into the mental psyche. The ritual is based on the shamanic process of using etheogens as a transcendence back into mother nature - represented by the wolf/dog. The ritual is often a coming-of-age experience taken amongst kin and friends, yet each person's journey is different. It may be dealing with how you've spent your time and your own self-perception within that time - represented in Nate's Journey as a headless version of himself shaving off slivers of a stick. I know it's just a music video, but it was important for it to be interpretive and also have a narrative storyline. ? Where did you shoot, how long did it take We shot the intro in the Shawnee National Forest near my hometown of Carbondale, and then on a strip of private land near by. We shot everything in four nights, but we had to pick the nights sporadically and over time. I would like to do music videos full time, but I had to juggle it between post-production and shooting freelance gigs, plus we had to work around every body's different schedules. This was not a unionized paid production, it was like, "Hey Kyle do you have school or work on Sat. No, sweet, you wanna help me make a rotating plank to put out in the woods." ? And how did you create your creature The jellyfish was built in Maya and then some lighting effects in After Effects. For any Maya geeks out there, I used "sub-surface scattering" to get a translucent look. I'm not really a graphics person; I just learned enough to do what I wanted. If I had it my way I would focus strictly on directing, story, acting, and editing, and pass graphics onto someone else. ? You have used 'data-moshing' to create some of the effects. How did that happen - and how did you know if it would work I had no idea if data-moshing would work, I just started fooling around with it after doing some online tutorials. One thing I really liked about it was that it was a process of actually damaging footage; it was, in a way, authentic. The actual process I used is like 20 steps long and I have it written down on a piece of paper taped to my wall. It was a week and a half of taking footage into mpeg streamclip, back into AE, warping, layering, breaking it up into particle layers, back lighting, etc. And then you just step back from it and you're like, cool, that works. Even though no one can really tell the difference, it's cool that what you see at the end is the footage of Kevin and Nate spinning around in the "human chandelier". It's not just an effect you click on; it's fucking something up so much that it becomes something else. ? What was the most challenging part of the production Did it turn out as you hoped When did you finish the video, and what kind of reaction have you had so far The most challenging part of the production was just organizing the video and actually doing it. I've wanted to do music videos for a while; I kept getting the ideas, but didn't have any funding, crew, or equipment. So I was like, screw it, I'll just pay for it all and ask favors of a bunch of friends. I borrowed equipment from the nearby university that I had directed some commercials for. It's been well received, the band loves it and people seem to like that it's a narrative concept. My main goal is to write up some of the other pitches I have and get some backing for the next ones.