Post Producer

Chris Chard

Vic Lentaigne directs an evocative promo for Romy.&nbsp;The video for Enjoy Your Life is a euphoric amalgam of feel-good vignettes, celebrating life from all angles through a mix of live action and still shots.&nbsp;Seamlessly tied together with a summery grade by Tash Hicks, it's a fun-filled visual that will&nbsp;get you in the summer mood, whatever the weather is like outside right now.&nbsp;Described by the artist on Instagram as a 'personal video' that will hopefully 'reflect&nbsp;some of the emotion and the euphoria that (she)&nbsp;wanted to convey with the song,' the video is directed by Romy's wife and creative collaborator&nbsp;Vic Lentaigne.

United Kingdom

Sorrel Higgins

Vic Lentaigne

Cree Brown

Tash Hicks

Coffee & TV

Milo Van Giap

Jake Schüle Lewis

Sam Hardy

Alice Gilfillan

Romy 'Enjoy Your Life' by Vic Lentaigne

Romy--'Enjoy-Your-Life'-by-Vic-Lentaigne

Alex Southam directs a touching comeback promo for Robbie Williams, set in a TV studio where Robbie is being interviewed by none other than himself.&nbsp;Southam's video for Lost - and this is the Director's Cut -&nbsp;begins with the artist backstage of a talk show, ready to be interviewed by his suited-and-booted TV interrogator. Who turns out to be his&nbsp;döppelgänger.&nbsp;[imgtoken data:1]As Real Robbie is grilled by his alter-ego, it's a chance to recount some of the singer's most iconic moments on a&nbsp;TV screen on set. That adds to the air nostalgia, with a sense of him attempting to overcome regret, and trying to map out a way forward for the future.&nbsp;It's strong work by Alex Southam - and a fitting comeback showcase for the irrepressible Robbie.&nbsp;

Angela Hart

Arthur Mayadoux

Alex Southam

Ryan Morgan

OB Management

Carrie Sutton

Thierry Garcia

Pieter Snyman

Sam Holmes

Jerome France

Lois Paul

Philippe Barez

Antoine Tamby

Marc Balland

Asia Abbartangelo

Davide Marconcini

Cyril Pedrazzini

Edna Dos Santos

Sveta Iershova

Anais Maurette

Charlie Reddie

Homespun

George Neave

Sorrell Higgins

Gus Quirk

Columbia Records

Robbie Williams 'Lost' (Director's Cut) by Alex Southam

Robbie-Williams-'Lost-(director's-Cut)'-by-Alex-Southam

The first single by George Michael released posthumously, has a lyric video created by David Austin at Coffee &amp; TV.The first George Michael music released since 2012&nbsp;is accompanied by a motion graphics-fired visual, where vintage&nbsp;performance footage of George magically coallesces from starlight in the ether.&nbsp;He's gone, but definitely not forgotten.&nbsp;

David Austin

Jon Trussler

Joss Brindle

Universal Music

George Michael 'This Is How (We Want You To Get High)' by David Austin

George-Michael--'This-Is-How-(we-Want-You-To-Get-High)-(lyric-Video)'-by-David-Austin

Inspired by the heavily-neon, urban&nbsp;aesthetic&nbsp;of&nbsp;Blade Runner,&nbsp;Alex Southam has created a world of city nightscapes for Snakehips&#39;s track&nbsp;Cruel,&nbsp;featuring a performance by ex-One Direction singer&nbsp;Zayn. With&nbsp;fluorescent lighting throughout, we discover a&nbsp;new world that is still in keeping with Snakehip&rsquo;s previous nighttime promo visuals.Capturing Zayn&rsquo;s characteristically cool performance, the video boasts some&nbsp;warped, distorted post-production trickery and wicked, winding camera movement.&nbsp;Stylish&nbsp;and bold, it&nbsp;focuses on a central tracking move whereby the camera seamlessly tracks forward passing through CCTV camera to&nbsp;apartment to alleyway -&nbsp;cop car to nightclub.&nbsp;Alex enlisted VFX juggernauts Coffee &amp; TV and created the 2D/3D animations himself with Lev Bravo. Expertly shot&nbsp;by Rob Witt, the&nbsp;resulting video&nbsp;sure is a colourful, visually&nbsp;engaging and energetic pop promo with a modern feel.&nbsp;

Rachel Rumbold

London Alley

Jess Bell

Rob Witt

Zach Apo-tsang

Chris Roebuck

Cut+Run

Dan Moran

Ryan Huffman

Anthem Films

Ollie Ramsay

Dan Millar

Lisa Foo

Sony Music

Aaron Sillis

Snakehips ft. Zayn 'Cruel' by Alex Southam

Snakehips-'Cruel'-by-Alex-Southam

The Ramona Flowers&#39; Tokyo has given Bouha Kazmi the chance to explore his fascination with Japanese culture - and particularly the phenomenon&nbsp;of the Geisha.&nbsp;Initially Bouha introduces an intriguing relationship between a masked woman and a boy, which is revealed to be an unusual double-act. In a very grand space - Syon House &ndash; the boy&#39;s harp-playing accompanies the woman&#39;s geisha-dance performed to audience of&nbsp;fearsome matriarchs. And then, the geisha unleashes an extraordinary power...&nbsp;So PROMO talked to Bouha about his Ramona Flowers video - and his geisha obsession...&bull; How did the project start &ndash; what was the brief? And how did you come up with the idea of your intriguing double-act and their explosive performance?My idea stemmed from the desire to reveal the true beauty beneath one&rsquo;s mask. I&rsquo;ve always been intrigued by the Confucian values and customs of Geishas, and Japanese culture. I find something bewildering about their temperament. Their physical appearance is extraordinary when explored in its most traditional form. People are constantly consuming them with their eyes, yearning for their youth, and the exquisite command of their allure.I&rsquo;d spent time holidaying in Japan over the years, picking different regions, spending a month at a time exploring every facet of a province. On one occasion, I remember seeing a geisha hand-in-hand with a very young boy who looked like he had just finished his school day.Later, I started distorting the sight of these two unsuspecting people. Where could they have been going? Why was he with her? What&rsquo;s she carrying in that case? What if she really were a prostitute? This image stayed with me all of these years. As soon as the word &ldquo;geisha&rdquo; came up in discussion with Tom Bird and the band, I knew exactly where I wanted to take it.&nbsp;&bull; The Japanese dancer clearly relates to the song title. Is this some kind of traditional form of Japanese performance?There was always a very clear intention to take on the world of the geisha and then exaggerate it all in appearance, movement, make-up, and disposition. Taking a number of disparate influences from very divergent origins, I wanted to create an amalgamation of something formative and unique.The style of dance was no different. I&rsquo;d suggested taking inspiration from the traditional form of geisha dances whilst injecting some ballet and alternative movement. The geisha is about body control and is very rigid in its form. We then added a graceful evolution, shifting it more towards ballet for the lower part of the body. We finally created the dynamism and flux through movement art, a style that has a lot more freeform in its appearance but should definitely not be mistaken for improvisation. Her dance is the result of trying endless blends of styles and solutions to what would eventually work as a whole, vis-à-vis the outward appearance, the styling, the make-up, and the lighting.&nbsp;&nbsp;&nbsp;&bull; Why the &lsquo;eyes without a face&rsquo; mask in the first part of the video?The idea was always to treat the film like extracted scenes from a narrative with a strong focus on fashion subculture. I wanted there to be an undertone of stage and theatricality to the piece. Dipping into the Asian theatre of Noh for the mask is something that served to build the tension between the two characters and the world. The mask is there to stimulate, startle and toy with the imagination. It brings a heightened premise to the beginning of the story, conveying mystery around this woman and consequently the boy. We&rsquo;re not sure whether to fear for the boy&rsquo;s safety or whether he&rsquo;s complicit. The mask gives the situation tenacity and the virtue of making something feel slightly less personal. This discomfort is clearly present during the dinner scene between the two and it helps create a certain connection between them, which is absolutely integral to the tone of the video.&nbsp;&bull;&nbsp; Looks like an interesting location. Where did you shoot the video? And are those old master paintings for real?The property was Syon House, essentially the Duke of Northumberland&rsquo;s family residence. We started our search with a stately home and ended up with an English Heritage castle with the interior designed by Robert Adam in the 1760s. The property itself dates back to the 1550s.Everything in Syon House is original, most of it over 300 years old, so we weren&rsquo;t allowed to lay a finger on anything. Even the carpets were worth millions and completely out of bounds. The painting featured in the entrance scene is the only infant painting of Edward VI in existence [by Henry VIII&#39;s court artist&nbsp;Hans Holbein], and we just immortalized it in an indie rock music video. There&rsquo;s something humbling about that detail. We had to be really creative and resourceful with how we lit certain spaces so that no paintings or historical artifacts were affected.&bull; That&rsquo;s a fearsome bunch of old ladies too. And shades of Come To Daddy with the blown-face look. Did you have trouble with your ladies achieving that effect?I can&rsquo;t begin to describe how much fun they were to work with starting from the casting process. Some of these women are accomplished actors. At one point, they were all sat in one large circle across a table with their cups of tea whilst they were waiting to get styled and made-up. They were exchanging wonderful stories from their long-established careers.In amongst the jowls, the amplified distorted skin, and the constant splatter of saliva that was boomeranging and hitting us in the face, I could only hear but two things being blared and constantly repeated over the music to no end: &ldquo;Darling, bugger it all, it&rsquo;s for the love of the art. Hit me again!&rdquo;&bull; The band don&rsquo;t feature, of course. Were they involved in the creative process, or pretty much leave you to your own devices?The band and I instantly connected - same wavelength and same page on every aspect of the video from the movement to the styling, to the casting, to exploring a bespoke piece of music for the intro. The more I talked about what lay ahead in extreme levels of detail, the more everyone got excited about hitting the ground running. I had one of the best commissioners any director could ask for. Tom (Bird) maintained clarity across all parties and ensured that my vision for the video was preserved. Everything in the video is pretty much how I&rsquo;d imagined and scripted it.

Chris Chard

Post Producer

Videos featuring Chris Chard

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