Camera operator

Ed Tucker

Back with their first music video since 2014, Will &amp; Dylan of Thirtytwo make a massive&nbsp;impact in their team-up&nbsp;with the formidable&nbsp;Idles. It's unquestionably a head-banger.The video for Mercedes Marxist follows a depressed office worker, who expresses his misery in a way we can all understand. We may think it, but he's doing it - even as he progresses from office to supermarket to pub.&nbsp;But then Will and Dylan then&nbsp;deliver the angst and anger that lies behid the universal act of frustration in a memorable interlude of furious mayhem.&nbsp;The pictures tell you everything you need to know.

United Kingdom

thirtytwo

Erin Sayder

Pulse Films

Maurizio Von Trapp

Millie Wells

Chris Malin

Ben Fordesman

Esteban Gimpelewicz

Partisan

James Sorton

Tim Gibson

Kharmel Cochrane

Adam Howe

Scarlett O'connell

Ellie Johnson

Simone Grattarola

Sam Bokma

Jay Coates

TenThree

Time Based Arts

Cinelab Film and Digital

Punk

Idles 'Mercedes Marxist' by Thirtytwo

Idles-'Mercedes-Marxist'-by-32

Matilda Finn has created a memorably intense&nbsp;and sexy fantasy-horror for Bipolar Sunshine.A beautiful woman enters an apartment, and gracefully stalks a prone, alive but paralysed man, toying with her prey. And then this top predator moves onto her next victim...&nbsp;This scenario for Bipolar Sunshine&#39;s Easy To Do is all mysterious mood and atmosphere, a series of unsettling but beautiful images (beautifully shot by Ben Fordesman) that build to little stabs of terror. It&#39;s also a big cinematic&nbsp;statement from Finn following her successes in 2017 that culminated in her winning Best New Director at the UKMVAs last year.

Matilda Finn

Gloria Bowman

FRIEND

Luke Tierney

Alternative

Soul

Bipolar Sunshine 'Easy To Do' by Matilda Finn

Bipolar-Sunshine-'Easy-To-Do'-by-Matilda-Finn

Blink Art illustrators and now directing duo Essy May and Stevie Gee release their directorial debut for heavy metal behemoths Mastodon&#39;s latest single Steambreather.Directing the live action and 2D animation May and Gee&nbsp;have created a promo that tells the story of two Mastodon fans in bland English suburbia,&nbsp;who stumble across a &#39;Deep Nasal Enlightenment&#39; breathing workshop. Things gradually start to get weird as the &#39;Breath of Life&#39; class begins to spell &#39;Death&#39; for the unsuspecting audience. And then things get very trippy indeed.

United States

Stevie Gee

Essy May

Hugo Donkin

Blink Art

Ben Honour

Ruaidhri Ryan

Beau Scott

Cleo Vogler

Max Halstead

Ben Skyrme

Brin Frost

Brin Frost, Cha Cha Cha Vintage

Roz Gomersall

Jack Williams

Jonny Tully

Smoke & Mirrors

Helen Parker

Andy Salem

Theo Nunn

Devin Sarno

Warner Bros. Records

Mastodon 'Steambreather' by Essy May & Stevie Gee

Mastodon-'Steambreather-'-by-Essy-May-&-Stevie-Gee

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.

Bouha Kazmi

Luti Media

Luti Fagbenle

Kimberly Hitchins

Chance Wilson

John Holloway

David Hawkins

Natasha Lawes

Richard J Lewis

Dom Aronin

Jenny Svantesson

Sangeet Prabhaker

Miles Roberts

Andrew Potter

Sarah Tognazzi

Stefano Moses

Portobello Post

Duncan Russell

Glassworks

Steve Waugh

Chris Chard

Coffee & TV

Distiller Records

Tom Bird

The Ramona Flowers 'Tokyo' by Bouha Kazmi

THE RAMONA FLOWERS | Tokyo

The unfortunate guy with the internal boombox in the massive video for <a href="http://www.promonews.tv/videos/2013/02/28/duke-dumont-ft-ame-need-u-100-ian-robertson" target="_blank">Duke Dumont&#39;s&nbsp;Need U (100%)</a>, is back in the new video for the Duke&#39;s new single I Got U, directed by Remy Cayuela. And this time,&nbsp;he&#39;s having a far more enjoyable experience with technology.&nbsp;In fact, the virtual reality headset that arrives in the post, sends him on a trip to Paradise - and lots of fun with lots of girls. We get to experience it all too, from his POV, thanks to Remy, DoP Ben Fordesman, and crew, heading out to the jawdropping beaches of Thailand to shoot this, using a helmet rig&nbsp;designed by Ben and his team.&nbsp;Well, it&#39;s tough work creating a fantasy, but someone had to do it...&nbsp;

Rémy Cayuela

Joe Walker

Park Village

Isis Films

Jean Alexandre-Luciani

Pattaya Benjavari

Kittipat Boonvanno

Sian Duke

Helen Mearns

Edouard Mailaender

Guillaume Couturier

Paul Harrison

Finish

Marisa Garner Associates

James Hackett

Virgin EMI

Dance, Pop

Duke Dumont ft Jax Jones 'I Got U' by Remy Cayuela

Duke Dumont - I Got U (Official video) ft. Jax Jones

The night-time adventures of Roman continue on from the well-received <a href="http://www.aftermaths.tv" target="_blank">Aftermaths series</a>, this time expanding beyond the 42 second clips into a full-length video.Federico Urdaneta returns as director, weaving his camera in a dance of death with Roman&#39;s impassioned performance - he&#39;s a real rock &#39;n roll cabaret artist of the old school. Along the way it becomes clear that the night is not going to end well - but that&#39;s one hell of a jacket...

Federico Urdaneta

Tilly Shiner

Becan Rickard-Elliot

Human

Tess Gammell

Claudia Coulter, Terry Perkins, Luke Stockmans

Fake Fake Records Records

Roman 'Dangerous Love' by Federico Urdaneta

Franck Trebillac&nbsp;casts a group of pensioners to star in his promo for The Unholy Hand by LA punk rockers&nbsp;The Bronx.These elderly gents mean business as they stage a drag race around their neighbourhood&nbsp;- on mobility scooters...

Franck Trebillac

Soup Factory

Andy Soup

Jade Bogue

Thomas English

Y-i London

Kole Onis

Ciaran Beale

Mark Hollowinianishnu

Andy Pinkney

Ben Oliver

PIAS

Hardcore Punk

The Bronx 'The Unholy Hand' by Franck Trebillac

The-Bronx--'-The-Unholy-Hand'-by-Franck-Trebillac

John Grant goofs charmingly around London, from basketball court to pet shop to Turkish barber&rsquo;s, in the video for Greatest Motherfucker, from new album Pale Green Ghosts, directed by Lucy Luscombe (whose short film Candy Girl was recent winner of the BFI Future Film Award). It proves to be a smart counterpoint to the autobiographical angst that pervades this and pretty much every other Grant song. And during his encounters with various strangers on his travels, the layers start to peel away to reveal the hidden depths within&hellip;
&ldquo;The concept came pretty quickly upon hearing the track; a portrait of man and his refusal to give in to loneliness through small talk with strangers and shopkeepers,&rdquo; Lucy explains. &ldquo;I wanted to champion the guy on the periphery who still tries at life.
&ldquo;John&rsquo;s brief was fairly loose, he just knew he wanted something bleak. So I set about creating a narrative with multiple tones where the bleakness seeps through slowly. We both love comedian Julie Davis and the Alexander Payne short 14e arrondissement and used both as reference for tone and character.
&ldquo;The shoot itself was incredibly fun but crazy as I wanted to shoot real living locations, no extras, no control. We kept the crew to a minimum and called on DP Chris Clarke for his ability to capture real moments and make them look beautiful.
&ldquo;We just pushed John into situations with strangers, he stayed in character and improvised his way through the 16 hour shoot day. He has an insane ability to engage anyone, whatever age or background, in lengthy conversation in about 20 different languages. Whether it was a tweaked-out tranny, an old lady, a Pakistani shopkeeper or a Turkish barber, John had them all engrossed.&rdquo;

Lucy Luscombe

Shameless

Rik Green

Chris Clarke

Steve Ackroyd

Alexa Haywood at Free Agent UK

Sophie Moss

Isabell Boettcher

John Moule

Indie

John Grant ‘Greatest Motherfucker’ by Lucy Luscombe

John Grant - GMF

Flat-e are long term Warp collaborators who specialize in designing some of the most creative projection mapping to date, and have been working with Jamie Lidell on a number of projects, including the artwork for the new album, and that has led to this video for first single You Naked. 

NM: How did you come up with the idea, and how much involvement did Jamie have in the concept Flat-E: Jamie was extremely open to our ideas early on in this project. As we were creating the whole visual identity for the album, promo and forthcoming live tour we built the aesthetic from the ground up. We made sure that Jamie had plenty of input with our ideas because our whole concept was based around him controlling his environment, we wanted him to feel fully connected to the world we created.
Were you tasked to create something that could also be used as live visuals Yes, part of the original brief (which was to some extent self-imposed) was to create something which could be used for not only his live show but create imagery his album art work too. 
The jacket effect is amazing! How did you do that 
We worked with costume designer Francesca Dvorak to create a rain mac which would really pick up our projections. She chose a reflective synthetic fabric for this purpose but we were unaware of exactly how reflective it was. There was this amazing moment when we turned the lights on set and the jacket literally glowed, everyone on set started crowding around the monitors see. It was a pretty special moment!

Presumably most of the effects in the video were achieved in camera Are there any exceptions Obviously the footage is edited but all the animation was created in real time and the lighting effects are all in camera. It was important to be strict about this as we wanted to highlight that all this can be done live as a way of selling the live show. Can you tell us how you projected those visuals around Jamie without projecting them onto him 
Often the projections do go onto him but we worked very carefully with our gaffer and DOP to use lighting to cancel this out. There is one shot of Jamie from above where we physically masked him out by obstructing the projector beam. Are you happy with how it turned out Yes, with highly technical shoots like this, involving playback, lighting and multiple projections, there can be a tendency for things to get a bit a stale. In this case I think we created a system which was flexible enough for us to make the most of Jamie's performance. 

https://www.youtube.com/watchv=65r_xN1eWeY

Ed Tucker

Camera operator

Videos featuring Ed Tucker

2019 (1)

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2012 (1)

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