Coffee & TV

The Trash Factory AKA James Arden directs a charming throwback to 80s television, in his video for Inhaler.&nbsp;The video for Love Will Get You There sees the group frolic through several late-night concepts, from The Late Late Show to a gunge-tastic gameshow.&nbsp;Packed full of personality and little easter egg throwbacks, it's an upbeat vision for an instantly catchy track - with plenty of playfighting and faux drama to create some conflict.&nbsp;"We shot this entirely on 40-year-old broadcast cameras that I’m honestly shocked we were able to get our hands on," Arden says. "I wanted to recreate the feeling of a world when terrestrial television ruled the airwaves and you could spend an evening skipping between channels."Visually, I was inspired by 1980s late-night talk shows, like Gay Byrne’s in Ireland, tacky game shows I used to watch after school and, of course, performances on The Old Grey Whistle Test and Top of the Pops."The best memories were always when things got a bit out of control live on air… this promo is about those infamous chaotic moments."

Benny Cassey

Yasmine Sabri

Trash Factory

Elva Zhu

OB Management

Lowkey Films

Emily Jeffery

Semera Khan

Harrison Newman

Rui Jiang Ong

Jamie Gamache

Danny Stoker

Soraya Wright

Chrissy

Elaine Lynsksey

James Arden

Katie Dymmock 

Ellie Pannett

Adam Galbo

Polydor Records

Inhaler 'Love Will Get You There' by The Trash Factory

Inhaler-'Love-Will-Get-You-There'-by-Trash-Factory

Get taken into another dimension&nbsp;in Elliott Gonzo's thrilling promo for Enter Shikari featuring Wargasm.Employing a hypnotic blend of visual techniques, including depth sensors, drones and glitchy post effects, the video sees a man getting chased down whilst the artists rock out in a nondescript industrial setting.&nbsp;Combining a dystopian futuristic aesthetic with degraded footage, the video feels as unique as the innovative track, and will no doubt go down as one of the best crossovers in the genre this year.&nbsp;

United Kingdom

Dylan Bolister

Kitty Cowell

Elliott Gonzo

Dave Gourlay

Mouthpiece

Kode

Alex Rice

Conor Chalk

Nathan Killham

Anita Okpongete

Sam Barnham

Dan Newcombe

Fabio Olgiati

Jamie Oliver Lia

Nics Paskauskas

Nathan Greenwood

Katie Dymmock

Harvey Mcgarry

Enter Shikari ft Wargasm 'The Void Stares Back' by Elliott Gonzo

Enter Shikari - The Void Stares Back (feat. Wargasm) - Official Music Video

Jessie Ware takes to the pulpit&nbsp;to preach tolerance and self-expression, in Vicky Lawton's effervescent visual&nbsp;for Free Yourself.When Jessie enters a large room, striding majesterially through a parting crowd in her&nbsp;flowing red gown, there is a spark of anticipation. Then&nbsp;she begins to perform, the super-cool and buttoned-up throng she is addressing start to respond to her words. And soon the group are giving themselves up to Jessie's commands - and being their full unbridled selves.&nbsp;With her strong sense of fashion, Lawton gives the video a twist of sophisticated&nbsp;rock 'n roll decadence, but with the added element of euphoria which feels contemporary and certainly works with the uplifing nature of the track and Ware's remarkable voice.[imgtoken data:1]"As soon as I heard the track, I knew it had to be a celebration - a&nbsp;moment of joy, freedom of expression and individuality," says the director. "It’s all there in the lyrics - 'free yourself'. [I was] Imagining a gathering of like-minded free-loving folk at a stately home, very 70’s rock n'roll - but with a pinch of the occult thrown in."Knowing I’d want to make the tone provocative, I needed to ensure there was the class and sophistication in the visuals to keep it chic. That meant keeping mystery and intrigue at the forefront, using references of decadence, silhouettes to tease and a heavenly glow throughout. That’s where working with Rob Jarvis, DOP was a delightful experience - he has an eye for controlled compositions and a painterly effect when it comes to the use of light."Within this setting, Jessie is a true performer. Her ability to be the authoritarian preacher to the crowd of dancers in the start of the film, and get within the group towards the end and let loose was masterful to watch."

Josh Stovell

Anna Engerström

Luke Jefferson Day

Vicky Lawton

Blair Smith

Carrie Sutton

Octopus Inc

Ailsa Robertson

James Duffy

Rob Jarvis

Nicola Kenney

Claire Luke

Steve Wingrove

Richard Lewis

Gabriel Jones

Aida García Vega

Oliver Casamayou

Patrick Wilson

Francesca Brazzo

Jamie O'Donnell

Simona Cristea

EMI Records

Nomad Editing Company

Soul

Jessie Ware 'Free Yourself' by Vicky Lawton

Jessie-Ware-@jessieware-'Free-Yourself'-by-Vicky-Lawton-@vickylawton

Carla Dauden directs a fun-filled promo for new pop girl Dylan, who shows her mischievous&nbsp;side in Girl Of Your Dreams.&nbsp;The video&nbsp;sees the artist break&nbsp;into her love interest's house - while he's sound asleep -&nbsp;making a raucous mess as she aims to cement herself as the girl of his dreams.&nbsp;The use of playful visual effects - a pair of lips on a hand, moving posters and TV heads - adds a playful spark to the concept, whilst Dylan's absorbing performance will have viewers mesmerised through all of the madness.&nbsp;A bright-coloured throwback to Noughties videos with a fresh, contemporary flourish.&nbsp;

United States

Dale Heron

Lucy Upton-Prowse

Zoe Matthews

Carla Dauden

Blake Kenward

Irresistible Studios

Sam Crook

Max Witting

Harriet-Kate Mckean

Samuel Fullerton

James Abbott

Jonathan Boyd

Phoebe Shakespeare

Elizabeth Rita

Danilo Abraham

Peter Welton

Island Records

Dylan 'Girl Of Your Dreams' by Carla Dauden

Dylan-'Girl-Of-Your-Dreams'-by-Carla-Dauden

<h3>Katie Dymmock has established herself as part of a new generation of talents in the world of Colour. We talked to her about her career so far, and how being a live music-loving teenager played a crucial role in her journey…</h3>One of the colour team&nbsp;at Coffee &amp; TV in London since 2018, Katie Dymmock has built a reputation for her work in commercials and music videos for the likes of Jarvis Cocker, Gorgon City, Calum Scott,&nbsp;Pale Waves, Rachel Chinouriri, Navos x Galantis, and more.Originally from Bath, it was a family move to Cardiff when she was a teenager that led to the first steps towards her eventual career. She started going to live gigs – and taking photographs of her favourite local rock bands. “I started taking my camera to shows and taking photos of friends who were in bands, alongside doing Photography for my A levels,” she says. “And then I got into the photo manipulation side of things.”She moved back to Bath to do a Foundation course in Photography &amp; Motion Graphics, then back to Cardiff for university, where she discovered that there was a moving image version of photo manipulation, being taught as a small part of her Visual Effects degree.<blockquote>I’m such a big live music fan – that’s what got me into it in the first place.</blockquote>“Very briefly, they said, ‘oh, by the way, this is colour grading’. I kind of instantly connected with that idea – even though I had no idea that it was a job in itself.”She decided she only wanted to focus on this part of the post-production process in her VFX degree. Ultimately it opened up a whole new world of possibilities. When she heard about a vacancy for a runner at a top Soho post house, she&nbsp;discovered that grading certainly was a job in itself.“Within my first week of being on shift I was already thinking&nbsp;– right, how do I get to grading from being a runner?” she says.From spending time in the machine room, encoding on tape (this was 2013) and sneaking into the suites, she sought advice from the senior colourists there, including Simona Cristea. When Cristea moved to Coffee &amp; TV in 2018 to head up the colour department, she followed soon after, joining the independent creative studio as assistant colourist.When I joined Coffee &amp; TV, because the team was smaller and the company was expanding rapidly, the opportunities started coming bigger and faster,” she says.Gorgon City, KAMILLE, Ghosted - Go Deep (Dirs: Melody Maker &amp; Lauren Van Veen)[vidtoken data:0]“I’d been training and getting better, and this was the first big thing at Coffee &amp; TV, a video that was just for me. It was a big deal, really challenging, and I felt it was just a case of ‘let’s get going’.It was shot to be made to look like it was underwater, but it wasn't. They had dancers suspended on wires, on a set, to get the feeling of weightlessness. They shot it through a glass sheet with water on it, to get the illusion of being underwater, with lights shining through to create caustics on the floor. One of the things I kept in mind in the grade was to keep those caustics and highlight that, emphasising that it was underwater.There was some really lovely shots in it where they have classic teal and orange colour combination - there was a car that had really beautiful orange headlights, in this blue world. But I think the biggest challenge was making sure that were colours other than blue in this underwater world. So it was doing things like picking out reds on one of the dancers outfits.Then there was this part in space. It was really interesting and I&nbsp;remember everyone was really excited that they had made it look underwater and it wasn’t.” &nbsp;Jarv Is – Beyond The Pale… Live From The Centre Of The Earth (Dirs: Iain Forsyth &amp; Jane Pollard)[vidtoken data:1]"This happened not long after lockdown kicked off, and was the first big project that I did from my spare room in the sweltering heat of the summer of 2020. It was a live performance of Jarv Is (Jarvis Cocker and band) - shot in a cave [Peak Cavern in Derbyshire] – by Iain Forsyth &amp; Jane Pollard.I’d worked with Ian and Jane on a piece for a Nick Cave exhibition in Berlin – 12 screens, with different members of the band at different times, all in conversation with each other. Then came the shutdown, so I couldn’t go to Berlin to see it. And then, at a time when there were no gigs on at all, we did this Jarvis piece.<blockquote>I didn't believe grading could be done at home,&nbsp;but we all&nbsp;got smaller versions of the panels in the suites, and colour calibrated monitors.</blockquote>It was incredible. I think it was nine songs, and each one had it’s own crazy lighting set-up (by Douglas Green). There were lasers, and stars on the ceiling of the cave. One was really red, one was like prisms…It was a lot of pressure, with a short turnaround. I remember doing really long days to get it done in time. But I loved doing it.I’m such a big live music fan – that’s what got me into it in the first place. And for someone as legendary as Jarvis Cocker, and for Ian and Jane, who are two of the nicest people, this one-off piece was just really exciting. But it also came with the challenges of doing it from home. As it was hours of performance footage we had these huge files, and we were really stress-testing the capabilities of being at home.I had never believed, pre-pandemic, that grading could be done from home. But very quickly we had smaller versions of the big panels in the suites at home. We all got colour calibrated monitors. And then we got ClearView boxes, which we use all the time now – it takes the output direct from whatever you are using, Resolve or Flame or whatever - &nbsp;and puts it on a live feed so anyone can watch it anywhere. A big improvement on Zoom."Oscar de la Renta – Amazon Luxury Stores (Dir: Bunny Kinney)[vidtoken data:2]"That was an exciting one for me because it was a big VFX collaboration at Coffee &amp; TV.. It was a fantastic grade, Flame, CG collaboration. It had a lot of green screens in, and a lot of creative VFX work in it. All the skies and flowers blooming – and multiple Cara Delevingnes in one scene. A lot of set-ups in one film.It was a fashion one, so we had some references for what they wanted the clothes to look like. It was grading, sending it to Flame, them doing the effects work on it, bring it back to me, doing tweaks at the end. So that one stands out to me, I think it’s a good example of how a grade fits into a VFX pipeline. And it was a lovely campaign. It was very shiny and still definitely one of my favourite pieces I've done."Holding Absence – Afterlife (Dir: Lewis Cater)[vidtoken data:3]"I’d pick this one as it brings me back to my roots in Wales, and being part of that music scene. And I’d been watching Lewis Cater’s work for a while and its often for the kind of rock music that I'm into. It was nice to do something that was with a director I wanted to work with, music that I liked, from my hometown.The set was really lovely and it had a really nice soft filmic look. There were flowers everywhere, and the art director Ksenia [Kulakova] did a beautiful job of all these blooming flowers through the seasons.Again that was one we did remotely – I think around Christmas 2020 – but Lewis was great on it. That felt like a very full circle moment for me. And I think it’s a really nice video. It’s not so crazy or heavy, but it was nice to have those four seasons as a backdrop. And I think 2020 overall was an important growing period for me."Welshy – All For You (Dir: Arthur Studholme)[vidtoken data:4]"Arthur Studholme is&nbsp;a really lovely, funny guy (he’s going to hate me for saying that!) and a nice relationship has grown over the years. I worked with him on a couple of his crazy short films. The first thing we did together was a short film called Spaghetti, where he ends up in this like inflatable swimming pool filled with spaghetti, and in kind of a spaghetti fever dream. The first time I saw it I thought ‘what on earth…?’ Then we did another short film together, about a monster under the bed, which is again bizarre.<blockquote>Arthur let me have creative freedom so I&nbsp;thought: let's go a bit wacky...</blockquote>Then this one for Welshy came in, and it was also through Blood Films, who I had worked with separately, so it was definitely a meeting of minds. I read the treatment and thought – this is very Arthur.&nbsp;I think everyone who saw it was equally baffled and amused by it. Arthur let me have creative freedom on it, so I&nbsp;thought: let's go a bit wacky, and a bit hyper-real - because it is hyperreal. And I really like the grade on it - &nbsp;the dreamworld aspect of it.We’ve just done a TV campaign with Arthur, I can say more soon, but it’s bold. Arthur’s mind will never fail to amaze me!"Dior – La Rose Dior&nbsp;(Dir: David Sims)[vidtoken data:5]"This&nbsp;looks very clean, but there's a lot of work that went into making it look very clean. It looks very fresh, and and it's purely a beautiful woman - Elizabeth Debicki - on a white background. But the level of detail of making it look that clean and slick is quite high.Simona is also known for working with luxury brands, directors and DOPs, so being trained by her has stood me in good stead to work in this area. So it's definitely now a strength in which I am established."Wargasm – D.R.I.L.D.O (dir: Elliot Gonzo)[vidtoken data:6]"There is constant strobing through the whole video, which made it a very challenging grade. But Elliott had very clear references for it – the dance party in The Matrix, Blade and Blade Runner.I really like how it turned out. I think it looks really wild. And I’ve not seen anything quite like that recently. I really appreciate how unapologetically violent Elliot went with this too."• Katie Dymmock is a colourist at Coffee &amp; TV. Watch more of her work <a href="https://coffeeand.tv/people/katie-dymmock/" target="_blank">here</a>, and contact Pete Burch on pete@coffeeand.tv for more information.

The Story So Far... Katie Dymmock, Coffee & TV

Gorgon City, KAMILLE, Ghosted - Go Deep

JARV IS... SWANKY MODES - LIVE FROM THE CENTRE OF THE EARTH

Amazon Luxury Stores With Cara Delevingne & Oscar de la Renta

Holding Absence - Afterlife

Welshy-'All-For-You-'-by-Arthur-Studholme

𝐖𝐀𝐑𝐆𝐀𝐒𝐌 - "D.R.I.L.D.O" (Official Music Video)

Vasilisa Forbes follows up her video for Pale Waves' <a href="https://www.promonews.tv/videos/2022/05/18/pale-waves-lies-vasilisa-forbes/76477" target="_blank">Lies</a> with a starkly monochromic performance piece for Jealousy.The high-contrast cinematography is inspired by the work of taboo-busting Irish photographer <a href="https://en.wikipedia.org/wiki/Bob_Carlos_Clarke#DVDs" target="_blank">Bob Carlos Clarke</a>, and gives the promo an editorial-meets-punk aesthetic.[imgtoken data:1]The minimalist art direction and expansive white cyc backdrops create a glossy, luxurious feel, which is perfectly balanced by the rougher textures and frenetic camerawork.&nbsp;"I wanted to take Pale Waves into a punk and minimal world," says Forbes.&nbsp;"Chains represent&nbsp;suppression and being held back by jealous thoughts and emotions - caging, carrying a weight, oppression and breaking bonds."

Joshanne Dar

Vasilisa Forbes

Alessia Lendrum

Krunal Saadrani

Morgan Sinclair

Vanessa Mcdowell

Sam James Fullerton

Nacho

James Huth

Ellie Bond

Rebecca Cawthra

Laura Gamezzz

Dirty Hit

Indie Rock

Rock

Pale Waves 'Jealousy' by Vasilisa Forbes

Pale-Waves-'Jealousy-'-by-Vasilisa-Forbes

Ben Newbury helms a scintillating and breathless POV journey of a rocket-powered space woman as she flies across the globe, Iron Man-style, for Navos and Galantis's uplifting dance anthem What It Feels Like.Newbury has harnessed the latest in both drone and greenscreen technology to create this action-packed extravaganza, to make it feel like a woman really can fly - speeding through&nbsp;some glorious landscapes, both natural and urban - until she makes a truly spectacular&nbsp;crash-landing.[imgtoken data:1]&nbsp;"You know you’re on to a basic concept that will probably make a good video when each time you talk it through everyone keeps having more and more ideas for it -&nbsp;that totally happened with this," says Ben Newbury. "I have to give props to the commissioner John Hassay. He was looking for a video that: a young audience would watch to the end;&nbsp;a video that captured euphoria (the feeling not the TV show). Challenge accepted.<blockquote>Having a wild visual idea is one thing but you’re only going to hook the audience if they connect to it.</blockquote>"So the pitch was this… we experience the explosive, psychedelic journey of a spacewoman as she re-enters the atmosphere and hurtles round the surface of the earth - all from a POV inside her helmet. This hyper-colour, over-saturated, warp speed journey takes us from the edge of space, through epic mountains, forests, cities and deserts, flying through impossibly small spaces and trippy VFX wormholes, to match the euphoric feeling of the track. Before she smashes into the ground. Easy peezy."The flight itself was created with FPV drones, filmed around the world, frame matching different takes to create one sequence. Adding in the initial fall from space and trippy wormholes in VFX. Once our VFX wizards had the edit stitched together, and we had all enjoyed another Covid test, we headed to the XR stage in Garden Studios. After some careful testing, Olly Nice our cinematographer extraordinaire rigged the camera inside a space helmet, created by our fabulous art director Katie South, ready for the XR screens to play back the journey.[imgtoken data:2]"The XR screen array enabled us to perfectly match the lighting in the reflections inside the helmet and on her hands and arms, allowing our space woman to appear to look around and throw her arms out in time with the flight (as well as becoming the desert backdrop and lighting for our final shot). Our wonderful actress Poppy Christie positioned herself underneath the camera, while our SFX team (the whole rest of crew) held all manor of wind machines, spritzers, leaf blowers and smoke machines ready for launch. This made the final video pretty much a one-taker, with everyone firing smokers and squirting water at the camera."One goal I kept coming back to throughout pre-production was to make sure the video was about the emotional experience the space woman was having on her journey down to earth. Having a wild visual idea is one thing but you’re only going to hook the audience if they connect to it. If they care. It needed a human element to create that sense of jeopardy. So our solution was to shoot a plate shot of Poppy performing the flight facing the XR screen without the helmet, then composite that as a reflection into the visor in a final round of post, to allow the audience to see her performance.[imgtoken data:3]"Pulling all this off would not have been possible without the brilliant Ramy Dance and Alessia Lendrum from Common People Films. Alessia harnessed the true purpose of the internet, organising FPV drone pilots all around the world, who shot in deserts, mountains, jungles and cities to create the amazing footage that makes up the flight."Big shout out to Tom Bailey and Greg Ayala at FNDM who designed the artwork that kicked off the thought process. I also want to thank our head leaf blower op and PA - Ynez Myers, AC - Mark James, HMU - Eliza Clarke, the Drone Pilots - Luca Morandini, Fabrizio Botto, Smirnov Dmitrii Olegovich, Zakir Mohammad &amp; Jerry Chan. Then on Edit - Matthew Blacklock, Grade - Kathryn Dymmock, Sound Design - James Hall and our VFX brains - James Taylor, Darri Thorsteinsson and Shivam Solanki. As well as Andy Roberts, Amy Collins and Mariama Camara. And finally Navos and Galantis for making such a massive banger."

Ben Newbury

Las Bandas Be Brave

Common People Films

John Hassay

Olly Nice

Ramy Dance

Ynez Myers

Mark James

Katie South

Eliza Clarke

Matthew Blacklock

Darri Thorsteinsson

Shivam Solanki

James Taylor

Poppy Christie

Dance

Navos X Galantis ft YOU 'What It Feels Like' by Ben Newbury

Navos-X-Galantis-'What-It-Feels-Like-Ft-You'-by-Ben-Newbury

Elliott Gonzo directs a stylishly hyper-violent&nbsp;video for&nbsp;electronic rock duo Wargasm.&nbsp;Inside a&nbsp;fetish nightclub, we see a crowd of alternative partygoers dance under coruscating strobes, whilst a loathsome antagonist forcefully tries to scupper the event.&nbsp;The video dives into a brilliantly violent haze of bottle-smashing and fistfights, with a bloody climax that will leave viewers breathless.&nbsp;Bold and accomplished work from Gonzo and team - with images that will stick in your head long after you've watched.Warning: This video may potentially trigger seizures for people with photosensitive epilepsy or similar conditions.&nbsp;&nbsp;&nbsp;

Ellie Walker

David Gourlay

Charlie Relph

JP Garcia

Danielle Wright

Oscar Ginn

Jake Loft

Kristiana Zhekova

Ellen Amann Johns

Georgia Olive

Wargasm 'Drilldo' by Elliott Gonzo

Wargasm-'D.r.i.l.d.o'-by-Elliott-Gonzo

Legendary Noughties boyband Blue make a triumphant return, in&nbsp;Jackson Ducasse's slick promo for Haven't Found You Yet.Looking cooler than ever -&nbsp;in perfectly cut threads and&nbsp;neon noir lighting -&nbsp;we see the foursome perform and interact in a handful of enigmatic vignettes, introducing a new chapter of their pop reign.&nbsp;It's well worth celebrating a good comeback, and Ducasse's choice to focus on pure performance - with polished cinematography and a cinematic aesthetic courtey of DoP Jed Darlington-Roberts - helps to reintroduce Blue to fans both old and new.&nbsp;

Tommy Raban

Jackson Ducasse

Karen Tillotson

Week Of Wonders

Faye Purcell

Jorge Higgins

Jed Darlington-Roberts

Craig Boath

Ollie Smith

Stephen Ofori

Sam Papidas

Aimee Meek

Cinta Miller

Tim Fernandez

Bmg Rights Management

Blue 'Haven't Found You Yet' by Jackson Ducasse

Blue-'Haven't-Found-You-Yet'-by-Jackson-Ducasse

Vasilisa Forbes directs a stylish performance promo for UK rock outfit Pale Waves.Interweaving her fashion sensibilities with portraiture-style vignettes, Forbes uses lighting and art direction to visualise the compelling track.&nbsp;Shot in a studio, the video for Lies spans three contrasting setups which each&nbsp;offer a conceptual take&nbsp;on the lyrics.[imgtoken data:1]"(The track) spoke to me of heartbreak and frustration, yet with punchy empowerment," says Vasilisa Forbes.&nbsp;"I wanted to create a striking performance-focused video for Pale Waves with Heather at the forefront; in a lighting and colour driven studio environment."A blue diamond shape is repeated through a performance cube where we mirror ceiling and floor, and a diamond studio formation ‘inversion’. Shadows and mysterious lighting-tonality speak to me of ‘LIES’ - covering up, hiding, sinister details...thoughts taking place in the shadows."Playfully the heart motif is presented and repeated through the use of blood-red tones, and heart cut-out lighting frames."&nbsp;

Vanessa Mcdonnel

Nacho Guzman

Pale Waves 'Lies' by Vasilisa Forbes

Pale-Waves-'Lies'-by-Vasilisa-Forbes

Architects' founder and drummer Dan Searle takes up the director's reins once again -&nbsp;after his excellent video for Animals - for a terrific performance video achieved in a single take.&nbsp;The premise is pretty simple:&nbsp;Architects&nbsp;are captured playing When We Were Young on a camera constantly moving around them on a circular track. It's the faultless execution that elevates the idea to the next level.With a low-key intro before the band explode into action, and a great lighting set-up to highlight the mood, the camera revolves around a pulsating performance by the band where Architects' frontman Sam Carter is always the focus of attention, the centre point in the circle the whole time.Beautifully shot by Thomas English, this is a really excellent&nbsp;performance video. The band's drummer really knows what he's doing.&nbsp;&nbsp;

Rianna Faye

Dan Searle

Jamie Whymark

Thomas English

Joshua Noon

James Dyer

Johnny Smith

Irys Steel

Rebecca Doctor

Haelwyn Adams

George Neave

Architects 'When We Were Young' by Dan Searle

Architects-'When-We-Were-Young'-by-Dan-Searle

Things get messy in Jackson Ducasse's video for Wilkinson, featuring&nbsp;alt-pop newcomer Issey Cross.&nbsp;The latest release from the drum 'n bass legend gets a chromatic visual full of neon colours and glossy cinematography.&nbsp;Cutting between close-up shots of coloured paint on a pulsating speaker, and featured artist Cross spreading paint all over her body, the concept is very much interpretive of the lyrics and straight to the point, in the best way possible.&nbsp;

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