AB/CD/CD are&nbsp;Camille Dauteuille and Clément Dozier.

Director

AB-CD-CD

Directing duo AB/CD/CD directs a mind-bending slice of pop magic for Mae Muller's I Wrote A Song - the UK entry at this year's Eurovision Song Contest.&nbsp;Taking it's lead from the&nbsp;infectious, bouncy vibe of the track the video by the French directing duo takes these qualities and amps them up to a hundred.&nbsp;Featuring a menagerie of glossy studio sets, the video - which was premiered on BBC ONE last Thursday, when the song was announced as Britain's entry to Eurovision - sees Muller lament her cheating ex, as she haunts him on a whimsical journey through dreamlike sets.&nbsp;Experimenting with perspective and a push-and-pull style narrative, it's exactly the kind of eccentric promo that a UK Eurovision entry needs, and is one of the most enjoyable videos of the year so far.&nbsp;[imgtoken data:1][imgtoken data:2]

United Kingdom

Sigita ŠimkŪnaitĖ

Soki Mak

Craig Dixon

OB Management

Katie Dolan

Darius Zalmonas

Persona.

Sam Holmes

Laura Thomas-Smith

Tom Wynbourne

Aidas Baltutis

Audrius Zelenius

Edgaras Naujalis

Sigita JonaitytĖ

Natalia Palomares

Oskar Pera

Zara Ali

Vincent Fleischmann

Mathieu Caplanne

Johan Luce-antoinette

Firm Studio

Mae Muller 'I Wrote A Song' by AB/CD/CD

Mae-Muller-'I-Wrote-A-Song'-by-Ab/cd/cd

Love leads the way in&nbsp;AB/CD/CD's phenomenal promo for Dermot Kennedy's Kiss Me.&nbsp;Lying in the bed of a truck hurtling down an empty stretch of desert road, we see Kennedy and his love interest locked in an embrace, as the vehicle proceeds to break up around them.&nbsp;Boasting seamless VFX work and an absorbing concept, it's an instantly iconic visual, that delivers on the action but never forgets the beating heart of the story.&nbsp;[imgtoken data:1]&nbsp;

Carlos Gambao

Jocelyn Corona

Lola Idounda

Sam Davey

Polly Millner

La Pac

Denis Guth

Jerome Denis

Anna Roudaut

Simon Donnellon

Diana Titaferrante

Sylvain Canaux

Digital District

Valeria Horne

Island Records

Alex Chamberlain

Habitant

Dermot Kennedy 'Kiss Me' by AB/CD/CD

Dermot-Kennedy--'Kiss-Me'-by-Ab/cd/cd

Directing duo&nbsp;AB/CD/CD&nbsp;explore the relationship between human and machine in their new video for French electronic artist Delaurentis.A young woman becomes the flamboyant&nbsp;conductor of an airborne squadron of drones, in a mesmerising confluence of stylish cinematography, choreography and visual effects for Unica's Cloud. As the power dynamic moves towards the girl - played by&nbsp;Helena Olmedo Duynslaeger - it brings a riveting spectacle, with the overriding sense that this could quickly become destructive.&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The machine and the place of the human body is a central issue in the work of the directing team who had already explored it with their short film&nbsp;<a href="https://vimeo.com/353217130" target="_blank">Server Room</a>,&nbsp;and commercials such as 'Age of Experience' for&nbsp;Samsung.[imgtoken data:1]&nbsp;&nbsp;

France

Laetitia Snaoui

Mathieu Perez

Sander Vandenbroucke

Nina Trubert

Martin Grillet

Lucas Pommier

Penelope Hemon

Alya Derris

Anouk Haïf

Saint Louis

FIRM

Celine Marsais

Helena Olmedo Duynslaeger

Very Content

Forever

Zelie Deletrain

Alternative, Electronica

Delaurentis 'Unica's Cloud' by AB/CD/CD

Delaurentis-'Unica's-Cloud'-by-Music-Video-Directed-By-Abcdcd-(franz-Ferdinand-And-Lily-Allen's-Clippers)

Griff dances with her shadow in AB/CD/CD's dynamic promo for One Night.&nbsp;Opening on a bustling London street, the artist notices her shadow acting out of character, untethered to natural rules, and moving to its own beat.[imgtoken data:1]Launching into a flurry of choreographed dance - and plenty of visual effects trickery - we follow Griff out of the streets of the city and inside, into studio setups, where the shadow is brought to life as a real character.&nbsp;Tapping into classic musical film territory - it's a modern updating of&nbsp;the 'me and my shadow' concept that has been delighting audiences since the early days of cinema -&nbsp;the video feels like a step up in scale for the artist, who won the&nbsp;Brit Award for Rising Star back in May. &nbsp;

Eleri Evans

Sasha Nixon

Caroline Clayton

Warner Music

Natalie Wetherell

Lily Ashton

Ty Hack

Joel Honeywell

Karl Hui

Griff 'One Night' by AB/CD/CD

Griff-'One-Night'-by-Ab-cd-cd

Camille Dauteuille and Clément Dozier - aka AB/CD/CD - return to music videos with a real bobby dazzler for indie vet Tim Burgess's Empathy For The Devil.And as the songtitle suggests, this provides an intriguing twist on our usual take on The Horned One, in an ambitious narrative featuring Charlie Cattrall as a mischievous but surprisingly mortal&nbsp;Beelzebub.This particular Devil, somehow&nbsp;called up to Earth by a bride on her wedding day, and causing a right royal ruckus at her party, is an attention seeker&nbsp;with some underlying behavioural issues. Burgess provides a watchful eye over him, as we find out about the unhappiness behind his naughtiness, and his true role is revealed.&nbsp;This devil is a whipping boy for human frustration and frailty - and Burgess is able to show him sympathy, and possibly empathy too.Produced and shot in Belgium, photographed by DoP Sander Vandenbroucke (in 1.666 ratio),&nbsp;this freewheeling comic fantasy&nbsp;works really well with the&nbsp;jaunty folk-rock of Empathy Of The Devil.&nbsp;And with their background in conceptual, visual effects-based work, it also serves notice that&nbsp;AB/CD/CD have come of age as exciting&nbsp; storytellers.&nbsp;

Jelle Robbeets

Hamlet

Jason Felstaed

Pim Verhaert

Malko Van Den Borre

Kristof Collier

Elodie Rassel

Editors, Paris

Saint Louis Post House

Anika Mottershaw

Bella Union

Thomas Landeloos

Ruben Goots

Charlie Cattral

Rock

Tim Burgess 'Empathy For The Devil' by AB/CD/CD

Tim Burgess - Empathy For The Devil (Official Video)

Sigrid teleports between daytime reality and nighttime craziness -&nbsp;featuring&nbsp;rollerskating ghosts, a party-riot, and escaping from a marching band in a supermarket - in French directing duo AB/CD/CD's&nbsp;effervescent, vibrantly&nbsp;inventive&nbsp;video for Sucker Punch.The directors - that's Camille Dauteuille and Clément Dozier - were inspired by the eclectic nature of Sucker Punch to dispatch Sigrid into a series of mad adventures when daylight literally switches off. And then, with more brilliantly executed&nbsp;transitions, she gets thrown into her next daytime scene.While DoP Rob Witt's superb photography makes&nbsp;her larger than life,&nbsp;the art direction involved bringing in some distinctly&nbsp;Norwegian features to give Sigrid a taste of her homeland - like jumping through her own-branded taco boxes to escape that marching band. And it culminates in a swirl of tiny vignettes where she&nbsp;actually throws punches and turns into two animated avatars - including a seriously powerful 'anime' Sigrid. It's a knockout.[imgtoken data:1]&nbsp;

Ailsa Vanessa Tapping

Savvas Stavrou

Chris Malin

Oliver Waters

Rob Witt

Emily-jane Robinson

Max Openshaw

Matt Allsop

Nathan Matthews

Emma Rose Mead

Theo White Wine

Maria Asadi

Lucy Vick

Tianès Montasser

Editors

Mathematic

Laurence Lelong

Raimbaut Gaffier

David Knight

Sigrid 'Sucker Punch' by AB/CD/CD

Sigrid - Sucker Punch (Official Video)

On a movie set, a guy in a space alien mask waits for his big scene to start shooting - and AB/CD/CD begin to blur the parameters of movie-reality, in their stylish video for French artist DeLaurentis.The video for A Big Part Of A Big Sun plays with the viewer&#39;s perceptions in a very alluring way, where at first you&#39;re watching some kind of low-budget sci-fi&nbsp;movie being made - very satisfying in itself &ndash;&nbsp;but then in a rather surreal twist, the making of the movie becomes the movie itself. And then, arguably, it becomes the making of the movie again.The simple, powerfully visual elements involved here - the movie set, the eyes behind the alien face, the young girl with the chrome-silver gun - end up delivering a sad poignancy that works beautifully with DeLaurentis&#39;s haunting alt-pop.

Laurent Perreau

Melanie Le Portier

Elodie Tahtane

Laetitia Locci, Cathy Lantuejoul

Alexandra Patry

Gopal Puntos

Cathy Lantuejoul

Alternative

DeLaurentis 'A Big Part Of A Big Sun' by AB/CD/CD

Delaurentis-'A-Big-Part-Of-A-Big-Sun'-by-Ab/cd/cd

Franz Ferdinand are back.&nbsp;A new album from the Scottish artrockers is out in February,&nbsp;with the first song (and title track) Always Ascending&nbsp;released in late 2017, accompanied by a mesmerizing video directed by French directing team AB/CD/CD.It&#39;s the second&nbsp;collaboration between the directors and the band, following the video for <a href="https://www.youtube.com/watch?v=rCxLpte5loY" target="_blank">Johnny Delusional by FFS</a> (a supergroup combo of Franz Ferdinand and Sparks), and in this one, shot in Paris, the gifted French directing team have captured the essence of the track while also revealing a new-look, five-strong Franz.&nbsp;So Promonews&nbsp;talked to the band&#39;s frontman Alex Kapranos, and Clement and Camille of AB/CD/CD about how they picked up their partnership with <a href="http://www.promonews.tv/videos/2017/12/05/franz-ferdinand-always-ascending-abcdcd" target="_blank">the Always Ascending&nbsp;video</a>, the numerous challenges involved, and discovered why Alex loves making music videos.[imgtoken data:1]<blockquote>&quot;Camille and Clement&#39;s approach is similar&nbsp;to how we make our music, so the two methods compliment each other.&quot;&nbsp;Alex Kapranos, second left</blockquote>Alex Kapranos:&nbsp;We loved working with Camille and Clement [AB/CD/CD]&nbsp;on the video for FFS and were keen to work with them again, both from a creative and personal perspective.&nbsp;They have a good sense for creating so much of the shots in camera, then using minimal post-production to stitch it together. They have a desire to push themselves: to take the camera, lighting and sets to places that are less familiar to the eye, rather than generate it using a computer. This is a very similar approach to that which we use for making our music, so the two methods compliment each other.&nbsp;I also feel that they are masters of what is the key to a successful video: having a strong, powerful and immediately understandable concept then exploring the detail with care and artistic warmth.[imgtoken data:2]<blockquote>&quot;Usually for music videos, the&nbsp;simpler&nbsp;the better.&quot;&nbsp;Camille &amp; Clement, AB/CD/CD</blockquote>AB/CD/CD:&nbsp;Discussing with the band they were pretty clear about what the video should be: making a video that visually reflects the ascending concept of the song, capturing a band&nbsp;performance in a&nbsp;modern way, and as the band line up has changed recently, having a change to show clearly members.&nbsp;It was quite challenging but&nbsp;listening&nbsp;to the song (and the Sheppard tones in it) it was pretty&nbsp;obvious&nbsp;that having a camera&nbsp;constantly&nbsp;going up was the good idea. Usually for music videos the&nbsp;simpler&nbsp;the better.But then we elaborated on this idea, thinking about what could happen on each floor. Each floor was synchronised to a part of the song. It was an interesting puzzle to resolve. We wanted to create a kind of modern&nbsp;art&nbsp;direction&nbsp;and shoot it in a modern way. Then we started to work on each floor to give rhythm&nbsp;and energy according to the music. As it was quite ambitious we had to make sure that everybody was on the same page, so we had to draw each room one by one. Believe&nbsp;it or not it was very useful.[vidtoken data:0]<blockquote>&quot;We loved working with Camille and Clement on the video for FFS.&quot; Alex Kapranos</blockquote>Alex K: Technically, we wanted to create a physical ascension between the scenes of each shot. To create this, the guys used a new form of hydraulic camera boom that I have never seen before. As that&rsquo;s not my world, I have no idea what it is called, but it was huge and looked like the robot from the beginning of Robocop - you know, the one that goes apeshit, &ldquo;15 seconds to comply, etc.&rdquo; All those scenes were performed to the evil robocop. It was quite unsettling and contributed to the alienated sci-fi mood of the set.We also were looking for a lighting effect that we haven&rsquo;t seen before and the guys found this new technology that has been recently developed in France using cold, weak-intensity lasers that can be shot over the face and eyes safely. I love this effect. It&rsquo;s very otherworldly.[imgtoken data:3]&nbsp;<blockquote>&quot;The guys used a new form of hydraulic camera boom...&nbsp;it looked like the robot from the beginning of&nbsp;Robocop.&quot;</blockquote>AB/CD/CD:&nbsp;We had been discussing the constraint of ascending movement with our 1st AD and he told us about a prototype arm he has just seen the day before. It was a kind of Moco but simpler to program. We were the very first ones to shoot a project with this machine, so we&nbsp;can say that&rsquo;s this project is&nbsp;experimental.&nbsp;The biggest part [of post production work] were the transitions from one room to another. Our Flame artist (Mathieu Collet) did an amazing job on it. But apart from that, it was mostly done in camera &ndash; even the screen in the back was&nbsp;shoot on set.Alex K: Physically, the most challenging aspect was the weightless shots at the beginning of the film. The ones that look so effortless. They were shot at high-speed of us flipping and flinging ourselves horizontally on an Olympic-sized trampoline. It&rsquo;s quite a work-out. Especially if it takes around 45 minutes to get the shot...AB/CD/CD: FF are really challenging but always sweet and&nbsp;professional. This shoot was a way more&nbsp;intense than&nbsp;Johnny Delusional. We&nbsp;finished this shoot around 5am in the&nbsp;morning, but everybody was still motivated and they all gave their best and so did the crew. Looking back at the project it feels quite similar to the FFS music vid.&nbsp;I guess they like a lot of sequence shots almost as much as we do&hellip;[imgtoken data:4]<blockquote>&quot;Physically&nbsp;the most challenging aspect was&nbsp;the weightless shots&nbsp;-the ones that look so effortless.&quot;</blockquote>Alex K: I love making videos. I always fantasised about the opportunity to make them and still enjoy every stage of the process, from the first storyboards and concepts, through the shoot to the edits. I particularly love it when you see something transformed from an abstract idea that came from an unpredictable discussion to a fully realised piece of work. We have been so lucky to work, over the years, with so many extremely talented people. It&rsquo;s a dream. The only bit I don&rsquo;t enjoy is the same as anyone else: getting to a shoot very early to sit around for hours doing nothing while camera tracks and lighting are set up.<a href="https://www.youtube.com/watch?v=Rgo0TB08Tn0" target="_blank">Darts Of Pleasure</a> will always be very dear to me, because it was the first we made and was partly filmed in The Chateau - the old warehouse that we used to throw parties when the band first started off. All of the other people in the clip are our friends we would hang out with at the time. It really captured who were were at that time well.I love the Ulysses video (below). The one that was released. It was shot with Will and Dylan [aka <a href="http://http://www.pulsefilms.com/director/thirtytwo/commercials" target="_blank">Thirtytwo</a>] and pretty much improvised, with us reacting to various locations in the LA area. We were all jet-lagged and completely out of it for one reason or another. It has the feel of a night-out that has gone on for too long. Maybe too many nights too long. It captured the mood of the song so well. There&rsquo;s a shot that is almost subliminal it&rsquo;s so short of me with a blue face. The make-up caused an allergic reaction and my eyes swelled to Merrick proportions. That&rsquo;s why I&rsquo;m wearing thick sunglasses for a lot of the shots. If you look carefully, you can see through them and to the horror beneath.[vidtoken data:1]There have been a couple of noticeable changes over the years. Nobody shoots on film. We occasionally shot 16mm, but I can&rsquo;t think of anyone doing that now. The 5D and its successors revolutionised video-making, allowing cinematic photography on a budget. The film we made for <a href="https://www.youtube.com/watch?v=KAbPx_-IJBI" target="_blank">Fresh Strawberries with Margarita Louca</a> is a great example of that. Interestingly, the video we just made with Diane Martel&nbsp;for Feel The Love Go was, texturally, a reaction against the ubiquitous crispness of the SLR shoots: it was shot completely on Beta.The other big change is the way that people look at videos and how often they do. YouTube, Vevo, Apple Music, etc have revolutionised the medium. It is no longer something that was seen only a few times: maybe once or twice on Top Of The Pops or CD:UK or (if you were lucky) MTV, but is now easily viewed repeatedly and easily. With album artwork now less accessible to most music fans, the video really is a powerful and essential way to communicate the visual aesthetic of your band.<blockquote>&quot;Franz Ferdinand are really challenging but always sweet and&nbsp;professional. This shoot was a way more&nbsp;intense than&nbsp;Johnny Delusional.&quot; AB/CD/CD</blockquote>AB/CD/CD: 2017 was really exciting for us, lot of projects and we started a&nbsp;new&nbsp;collaborations with LA/PAC in France &amp; Forever in UK which are really&nbsp;promising! For 2018 we have couple of ideas we want to explore in music videos and&nbsp;working on two short films on the side. Wait and see, fingers crossed.Alex K: I greatly admire Camille and Clement. They&#39;re dedicated to there work, as true artists. They push themselves beyond what you would expect or imagine is possible. This shoot went on from early in the morning until&hellip; well, very early in the morning. During that long and intense time, they never lost focus.I know that we can be demanding as a band and I&rsquo;m sure we pushed them pretty hard, but I feel the result is marvellous and something that I hope they are as proud of as we are. The guys are a real joy to work with. Very warm and generous.&bull; AB/CD/CD are represented by <a href="http://forever-pictures.com/abcdcd/" target="_blank">Forever</a> in the UK and <a href="http://pac.fr/director/abcdcd/" target="_blank">La Pac</a> in France, and Franz Ferdinand&#39;s new album Always Ascending is released on Domino Records on February 9th&bull; Franz Ferdinand Always Ascending - full production credits <a href="http://www.promonews.tv/videos/2017/12/05/franz-ferdinand-always-ascending-abcdcd" target="_blank">here</a>

Franz Up: Alex Kapranos and AB/CD/CD on the Always Ascending video 

FFS - Johnny Delusional (Official Video)

Promo-News's-pick-of-2009-(pt.-1)

Franz-Ferdinand-'Always-Ascending'-by-Ab/cd/cd

Franz Ferdinand reunite with AB/CD/CD for the title track&nbsp;from the forthcoming new album, and move to the next level.The mesmerizing video for Always Ascending showcases the band&#39;s new line-up with a video that never stops moving, firstly around the band, and then, appropriately enough, continuously&nbsp;upwards, revealing new combinations of the band in performance.It&#39;s Paris-based directing duo&nbsp;AB/CD/CD&#39;s first video since joining <a href="http://forever-pictures.com/" target="_blank">Forever</a> for UK representation, joining up again with Forever EP Sasha Nixon,&nbsp;and it&#39;s their second project with Franz following the acclaimed video for Johnny Delusional.&nbsp;&nbsp;&nbsp;Franz frontman Alex Kapranos says: &ldquo;We&rsquo;re happy to now be Always Ascending on the screen, with AB/CD/CD capturing the mood of the song and likenesses of the band in perfect detail. This is pretty much a typical Sunday afternoon round at Franz Ferdinand&rsquo;s flat.&rdquo;

Mickael Lafont

Gary Brocaud

Kaname Onoyama

Samantha Lanteri

Lucille Durez

Marc Marborough

St Regis

St Louis

Laurence Lelong, Editors

John Moule

Domino Recordings

Franz Ferdinand 'Always Ascending' by AB/CD/CD

Franz Ferdinand reunite with AB/CD/CD for the title track&nbsp;from the forthcoming new album, and move to the next level.The mesmerizing video for Always Ascending showcases the band&#39;s new line-up with a video that never stops moving, firstly around the band, and then, appropriately enough, continuously&nbsp;upwards, revealing new combinations of the band in performance.It&#39;s Paris-based directing duo&nbsp;AB/CD/CD&#39;s first video since joining Forever Pictures for UK representation, joining up again with Forever EP Sasha Nixon,&nbsp;and it&#39;s their second project with Franz following the acclaimed video for Johnny Delusional.&nbsp;&nbsp;&nbsp;Franz frontman Alex Kapranos says: &ldquo;We&rsquo;re happy to now be Always Ascending on the screen, with AB/CD/CD capturing the mood of the song and likenesses of the band in perfect detail. This is pretty much a typical Sunday afternoon round at Franz Ferdinand&rsquo;s flat.&rdquo;

AB/CD/CD

Directing team&nbsp;AB/CD/CD have created a superbly entertaining video for&nbsp;French producer Breakbot&#39;s&nbsp;My Toy &ndash; featuring British DJ &amp;&nbsp;vocalist Yasmin &ndash; which gives the classic Hollywood musical production number a sexy, Gallic-flavoured modern twist.&nbsp;The toy in question is a boy robot without a face, brought to life by a bevy of girl&nbsp;designers and engineers - and whisked off in an animatronic seat - shaped like a female breast. Thus the sexy retro-futurist tone is set for the rest of the video, with our awestruck robot protagonist observing a parade of attractive women as they perform an elaborate choreography including seductive cat costumes as well as&nbsp;aerobics and&nbsp;cheerleading routines.The engineers back at the lab eventually&nbsp;decide upon&nbsp;a&nbsp;face which reflects his state of overwhelmed excitement. But having been primed for love with one partner, will true love prevail? Our will our boy robot be a little too human?&nbsp;

Khalid Tahar

Partizan Darkroom

Stan Bertin

Vincent Champagnac

Martial Schmeltz

Quentin Ameziane

Xènia Gasull

Vincent Amor

François Schmidt

Ed Banger / Because Music

Electronic

Funk

Boogie

Synthpop

Breakbot 'My Toy' by AB/CD/CD

Breakbot-'My-Toy'-by-Ab/cd/cd

Reality and daydreams blur in this hypnotic video for&nbsp;British music producer&nbsp;Danny L Harle&#39;s track&nbsp;Broken Flowers&nbsp;by AB/CD/CD.With their characteristic combination of creative and technical flair the Paris-based directing team,&nbsp;a bored print shop worker starts to affect her surroundings by the power of her imagination.As perfectly timed&nbsp;machines automatically feed sheets of paper&nbsp;into huge printers around her, the girl starts&nbsp;to imagine a massive printer malfunction, with paper flying everywhere,&nbsp;leading her into the dark recesses of the shop to find the control room. But by the end of the video, we&#39;re not quite if the daydream was a dream at all. &nbsp;&nbsp;

Axel Cosnefroy

Emiliano Serantoni

Laura Clayton

Sony

Jon Mealing

Claire Stubbs

Dance, Alternative

Danny L Harle 'Broken Flowers' by AB/CD/CD

Danny-L-Harle--'Broken-Flowers-'-by-Ab/cd/cd

It&#39;s one of the most delicious ideas for a super-band ever, and FFS&nbsp;- the collaborative project&nbsp;between Franz Ferdinand &amp; Sparks - have recruited a supergroup of their own&nbsp;to create the first video. And Paris-based&nbsp;AB/CD/CD have made a characteristic FX-fired delight, with&nbsp;a series of loops that capture every member of group - all four Franzers, and the two Mael brothers - caught at various stages of delusion, as they attempt&nbsp;to seduce a beautiful girl.&nbsp;Its also closely aligned to the music, repeating itself in regular time, the chairs and characters change position every time the camera makes a circuit. The video&#39;s impact is in it&#39;s duplication; the video spins, the narrative unfolds, and&nbsp;ends in crescendo...

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