Director of Photography

Evan Prosofsky

M.I.A. goofs around with M.A.I. - the robot version of herself -&nbsp;in Arnaud Bresson's video for Popular, and dissects the meaning of popularity in the social media age.Thanks to some excellent VFX work, and the lo-fi casting tape aesthetic,&nbsp;it's also&nbsp;shudderingly&nbsp;creepy.&nbsp;

United Kingdom

Arnaud Bresson

Laure Salgon

Division

Dytto

William Town

Modern Post

The Mill

Matisse Gaillard

Jey Wada

Brielle Hubert

Arthur Paux

Fabrice Damolin

Franck Lambertz

M.I.A. 'Popular' by Arnaud Bresson

M.I.A. - Popular (Official Video)

Directing duo rubberband. follow up the brooding terror of their video for <a href="https://www.promonews.tv/videos/2022/06/27/steve-lacy-mercury-rubberband/77040" target="_blank">Mercury</a>&nbsp;with something more upbeat and suitably sun-drenched for their second Steve Lacy video - again with a surreal twist.Lacy performs in an empty industrial space alongside his band, as guest vocalist Fousheé is suspended against a bright blue sky. Once Lacy joins his companion against the bright backdrop, the film takes on a hazy dream-like mode&nbsp; - it is this move toward surrealism that ties in with Lacy’s established visual language.As with Mercury,&nbsp;rubberband.&nbsp;worked with award-winning cinematographer Evan Prosofsky, and shot the video on 35mm.&nbsp;“We wanted to do something dead simple and completely free," say the directors. "We said, put them on the tallest crane we can find, and don’t remove anything. Show everything. The artifice in full. That was literally our pitch. The whole pathos of the album for us visually was the idea that: Safety is an Illusion, both in life and in love. We feel like this was a dead simple, evocative way to show that.”

rubberband.

Manny Caston

SMUGGLER

LFR Productions

Elizabeth Doonan

Luigi Rossi

Gianfranco Svagelj

Sergey Poplavsky

Boma Pennebaker

Miranda Lorenz

Dylan Edwards

Aubrey Woodiwiss

Raphaël Ajuelos

Dara Hamidi

Camille Yorrick

Kwasi Fordjour

Spencer Scranton

Vladimir Tevloski

Christina Corso

Alexa Hernandez

Diana Shin

Cabin Editing Company

Steve Lacy ft Fousheé 'Sunshine' by rubberband.

Steve Lacy - Sunshine (Official Video) ft. Fousheé

Directing duo rubberband. have created a mesmerising film for the return of Steve Lacy, using minimalism to draw the viewer into their distinctive take on the horror genre.As the camera does a 360-degree pan within a fenced-off area in a factory setting, Lacey comes in and out of shot to perform the Latin-flavoured Mercury. This motion control-driven device to frame the performance is the core of the video, but then rubberband. begin to disrupt our expectations.Halfway through the piece, an animal briefly appears walking outside the fence. The tone has now unexpectedly shifted, and the viewer is suddenly aware&nbsp;of a likely interaction between this creature and&nbsp;Lacy.&nbsp;[imgtoken data:1]Tension begins to crank up - confirmed by a flash of fur in front of the camera shortly afterwards. From then on Lacy is as much off screen as on-screen, and when he appears, his clothes are increasingly shredded.Shot by award winning cinematographer Evan Profosky on 35mm film, the video takes far less than&nbsp;its brief two minute and 30 second runtime to create a sense of sinister foreboding and creeping horror. The concept works to apply the classic horror formula, that what you (mostly) cannot see is more terrifying. It also captures the increasingly hard-edged&nbsp;energy of Mercury, the first of highly anticipated new material from Lacy.

United States

Max Colt

Soul

Steve Lacy 'Mercury' by rubberband.

Steve Lacy - Mercury (Official Video)

AG Rojas has created a beautifully-shot meditation on the effect of ethereal beauty in his second video for Florence + The Machine - an emotion that we tend to call Love.As counterpoint to a lovely performance by Florence, this is a story&nbsp;of a glorious work of art: an ancient&nbsp;statue, and its journey from he point of rediscovery in the last century. It&#39;s&nbsp;gazed upon and adored, sometimes loved, but sometimes unseen &ndash; and eventually it&#39;s transformed.&quot;This song is about the ways we look for love in things that are perhaps not love, and how attempts to feel less alone can sometimes isolate us more,&quot; says Florence about Hunger.&nbsp;&quot;I guess I made myself more vulnerable in this song to encourage connection, because perhaps a lot more of us feel this way than we are able to admit. Sometimes when you can&#39;t say it, you can sing it.&quot;While she sings it, AG Rojas has expressed it in this gorgeous video.

AG Rojas

Joe Faulstich

Park Pictures

Jackie Kelman Bisbee

Chris Jones

Shane Reid

Greg Reese

ARTJAIL

Alex Fisch

Florence + The Machine 'Hunger' by AG Rojas

Florence + The Machine - Hunger

Vincent Haycock returns to music videos with an epic display of extraordinary visuals for Kelsey Lu.Shot on Vancouver Island, it starts strangely and slowly, with Lu shovelling dirt in a steaming mud swamp, wearing an increasingly spoiled white dress. But this draws you in to a haunting showcase of songs from the singer and classically trained cellist, delivered in a series of spectacular settings, as she wears a mind-boggling array of couture.Beautifully shot by Haycock&#39;s regular collaborator Evan Prosofsky and styled by Mindy Le Brock, this is a masterful way to invite the viewer to escape into Kelsey Lu&#39;s world and discover her music.

Vincent Haycock

Abigail Flint

Jackie Bisbee

Tanya Melendez

Mindy Le Brock

Evan Parsons

Jo Carkner

Joel Hansen

Alexa Haywood at Free Agent UK

Kelsey Lu 'Shades Of Blue' by Vincent Haycock

Kelsey Lu - Shades of Blue (Official Video)

AG Rojas heralds the return of Florence + The Machine with an intense and intimate&nbsp;study of an unusually contained Florence Welch, like an old-time photographic shoot, for Sky Full Of Song.Rojas pairs Florence with props upon a hardwood floor, building metaphorical links to the song&#39;s lyrics. It&#39;s beautifully captured by the camera of Evan Prosofsky in a luminous black and white.

Joe Faulstitch

Republic

Florence + The Machine 'Sky Full Of Song' by AG Rojas

Florence-+-The-Machine-'Sky-Full-Of-Song'-by-Ag-Rojas

Max Weiland&#39;s competition-winning clip for Elton John is a gorgeous love letter to LA.A woman drives to scatter some ashes, whilst&nbsp;another drives for the joy of being in the city at night. A parking attendant takes an expensive car for a spin and a group of young girls live&nbsp;it up in a limo on the strip. Also, Marilyn Manson(!) shows up in surprising, out-of-persona cameo.Fresh from premiering at Cannes, Weiland&#39;s clip for Tiny Dancer is a story about a city that&#39;s always on the move - told through a dozen people moving through it. Lovingly shot on film by Evan Prosofsky, the video is a multi-faceted love story about a place famous for telling stories.

Max Weiland

Tom Birmingham

Hannah Turnbull-Walter

John Lathan

Nina Soriano

Dan M Henry

Ben Mullen

Sara Sensoy

Tatiana Van Sauter

Dustin Blackburn

Tallulah Bernard

Fouad Gaber

Simon Bourne

Somesuch

Trim Editing

Elton John 'Tiny Dancer' by Max Weiland

Elton John - Tiny Dancer (Official Music Video)

Philip Andelman has made this beautifully candid video for a beautifully candid song: Andrew Bird&#39;s Left Handed Kisses&nbsp;featuring Fiona Apple.Intimate and honest, it documents a conversation between two lovers, played by Andrew and Fiona - who is, as always, a formidable yet fragile presence in this video, which incorporates live performance.

Philip Andelman

Josh Goldstein

Partizan Darkroom

Jeff Pantaleo

Biff Butler

Dave Hussey

Nicole O'Connell

Loma Vista Recordings

Indie, singer-songwriter

Alternative

Andrew Bird ft. Fiona Apple 'Left Handed Kisses' by Philip Andelman

At the UK Music Video Awards on Monday (November 10th)&nbsp;Emily Kai Bock collected the&nbsp;MVA for Best Alternative Video - International for her Arcade Fire video for After Life, and then gave a passionate&nbsp;acceptance speech, boldly arguing the superiority of music videos over feature films as big screen entertainment.And there&#39;s&nbsp;no doubt her latest music video, for Lorde&#39;s Yellow Flicker Beat - a song on the soundtrack of the latest from the latest Hunger Games movie - would be a feast on a big screen. In a series of beautifully-crafted scenes, she has brought the big, widescreen&nbsp;stylised elements&nbsp;evident in her Arcade Fire and Magical Cloudz promos into the realm of the proper pop video.From the pompadoured Lorde&nbsp;bathed in the cherry hues of a neon motel sign&nbsp;to the dark party&nbsp;scene, Emily has created a series of arresting vignettes that make a serious statement about the precociously-talented New Zealander&nbsp;(this video&#39;s release was timed to coincide with her 18th birthday last week) as an&nbsp;independently-minded pop star.&nbsp;And together, the pair have created&nbsp;a video that is a real reflection of Lorde&#39;s artistic ambitions.&nbsp;&ldquo;Ella [Lorde] emailed me during the summer while she was on tour&nbsp;with Magical&nbsp;Cloudz, who I made a video for a couple years ago,&quot; says Emily.&nbsp;I was amazed that&nbsp;she would reach out to me directly. Usually with such a big-name artist,&nbsp;there&nbsp;is a team of people you have to go through, but she kept a close connection to&nbsp;me from start to finish - from feedback on the treatment to&nbsp;editing notes, we&nbsp;were in constant touch.As for the inspiration&nbsp;behind the video, Emily explains, &ldquo;Ella is a true collaborator. She had sent me a reference video of&nbsp;Mae West being&nbsp;interviewed by Dick Cavett. In the clip, Dick Cavett walks&nbsp;across a massive airplane hanger to this tiny lit set, where Mae West is&nbsp;reclining in this&nbsp;chair - it&#39;s a really surreal interview setting.&rdquo;&ldquo;I wrote&nbsp;her a treatment with a bunch of these kind of set ideas, of things that could&nbsp;live within a dark void of a large vacant space, under a&nbsp;singular light - a&nbsp;motel room, a confessional, a chandelier, a streetlamp, and so on - and she&nbsp;loved it.&nbsp;&nbsp;I was really excited&nbsp;about the idea of using&nbsp;black as a way to transition between the worlds, losing&nbsp;the context of what is exterior and what is interior.&rdquo;Due to&nbsp;Lorde&rsquo;s busy touring schedule, the exteriors were shot in north New Jersey, and the&nbsp;interiors in the Park Avenue Armory during New York Fashion Week - and between the Marc Jacobs and Tommy Hilfiger shows.Emily says, &ldquo;We would wrap set&nbsp;and she would get on&nbsp;her tour bus to drive overnight to a new city and play a show. She didn&#39;t seem&nbsp;tired though. There was one scene where she&nbsp;had to fall off a four-foot&nbsp;platform onto these mats repeatedly, and she was really excited about it. I&nbsp;think even complained that the platform&nbsp;wasn&#39;t higher.&rdquo;

Emily Kai Bock

Iconoclast

Kathleen Heffernan

John Nguyen

Inbal Weinberg

Eric Schwalbe

Dulany Foster

Crew Cuts

Republic Records

Lorde 'Yellow Flicker Beat' by Emily Kai Bock

Lorde - Yellow Flicker Beat (Hunger Games)

Sir Paul&#39;s reflections on the start of his relationship with John Lennon gets a thankfully non-literal but parallel interpretation by Vincent Haycock in the video for Early Days.It captures&nbsp;the energy, excitement and&nbsp;vibrant creativity of a group of kids getting together to play music and becoming a band. The era is also the same&nbsp;as when McCartney met Lennon&nbsp;- the mid to late 1950s. But Haycock has transposed the story of the origin of The Beatles to the cradle of rock&nbsp;&#39;n roll, in the Mississippi Delta, where the director spent a month scouting locations.He directed the performance element with McCartney in Los Angeles, where Sir Paul jammed with a group of veteran blues musicians including Del Atkins, Roy Gaines and Lil&#39; Poochie - plus his pal Johnny Depp, appearing (very briefly)&nbsp;in his third Macca video. But its certainly the dramatic element, beautifully photographed by Evan Prosofsky, that resonates.&ldquo;It&#39;s a memory song for me, about me and John in the early days,&quot; McCartney said in an <a href="http://www.rollingstone.com/music/videos/see-paul-mccartney-jam-with-johnny-depp-in-early-days-premiere-20140707" target="_blank">interview with Rolling Stone</a>. &quot;But Vince came up with this great idea: Instead of having young lookalikes of me and John walking the streets of Liverpool, guitars slung over our backs, and literally acting out the song, what if it was any two aspiring musicians? I thought that was such a cool idea.&quot;&nbsp;&nbsp;

Anna Rau

Corbett Jones

Jay Hougaard

Natasha Newman-Thomas

Carmela Makela

Lisa Roth @ HMH Casting

Laurel Coyle @ The Cast Station

Josiah Bultema

Geoff Walker

Arnold Ramm

Ntropic

Jordan Freedman

Whitehouse Post

Paul McKee

Paul McCartney 'Early Days' by Vincent Haycock

Paul McCartney 'Early Days'

Vincent Haycock shoots the endlessly photogenic Lana Del Rey frolicking in the Pacific surf in this uber-stylish promo for her single West Coast.&nbsp;Haycock translates with track&#39;s contrasting tempii with Lana torn between two lovers - the&nbsp;young man on the beach and an older gent in the car - all beautifully captured by DP&nbsp;Evan Prosofsky. And Lana just loves the camera...

Geoff McLean

Aaron Brown

Jason Hougaard

Michele Lawrence

John Hampton

John Nasraway

Johnny Blue Eyes

Anna Cofone

Pammy Cochrane

Lisa Roth

Patrick Rinoso

Ari Robbins

Mike Blauvelt

Bobby Wotherspoon

Ryan McGuire

Merrit Lear

Art Jail

Bradley Soileau

Mark Mahoney

Eric Ellington

Bradon Szafranski

Polydor

Semera Khan

Vision Film Co

Mainline

Lana Del Rey 'West Coast' by Vincent Haycock

LANA DEL REY "WEST COAST"

As beautiful as it is heartbreaking, the Emily Kai Bock-directed video for Arcade Fire&rsquo;s &lsquo;Afterlife&rsquo; is above all a stand-out piece of nuanced storytelling. A family of three men &mdash; father, teenager and young son &mdash; each lament the loss of their mother and wife in a narrative that blends their lives with their dreams.It&rsquo;s a device that is often practiced but seldom produces the kind of haunting and poignant impact Kai Bock achieves, like Linklater&rsquo;s Waking Life did over a decade ago. By the end of the video, nearly eight minutes of subtle and insightful storytelling swell to a melancholy conclusion that leaves you yearning.&lsquo;Afterlife&rsquo; reunites Kai Bock once again with cinematographer Evan Prosofsky. Their collaborative efforts have been so consistently strong, when you hear murmurs of them being on another set patience suddenly becomes scarce; you know it&rsquo;ll be great, but you can&rsquo;t wait to see how great.Prosofsky&rsquo;s lens picks up the subtext of story as if it were just another layer of celluloid, and he exercises ornamental restraint to craft images that are as pure as they are thought-provoking.Of course, it&rsquo;s difficult to watch &lsquo;Afterlife&rsquo; without considering the live rendition recently directed by Spike Jonze and featuring Greta Gerwig at the first YouTube Music Awards. Kai Bock&rsquo;s video is patently distinct, but it&rsquo;s an interesting comparison to make; one is an iconic director and the other is on her way to becoming one.

Canada

Charles-Marie Anthonioz

Anne Johnson

Danielle Oexmann

Brandeaux Tourville

Davie Carothers

Leo Scott

Hannah Hurney

Daniel McNutt

Olivia Segerstrom

Jamie Catino

Haley O'Neil

Grace Pae

The Creators Project

Indie Rock

Arcade Fire 'Afterlife' by Emily Kai Bock

ARCADE FIRE - AFTERLIFE

Directing team HARRYS channel the imagery associated with some Seventies greats for their video for Kurt Vile&rsquo;s Never Run Away &ndash; the first video from new album Waking On A Pretty Daze &ndash; with possibly a hint of Otto from The Simpsons thrown in&hellip;
Framed in a 4 x 3 photo format within the usual widescreen ratio, Kurt dressed in all-white wanders through a deserted, crumbling urban landscape (in his native Philadelphia) accompanied, and sometimes within, a white-painted school bus. It looks fabulous &ndash; shot on 35mm by HARRYS regular cinematographic collaborator Evan Prosofsky.
HARRYS: &ldquo;Kurt&rsquo;s music, to us, has carried on the lineage established by musicians like Neil Young, Harry Nilsson or Tom Petty. We wanted to make a video inspired by some of our favourite iconic album art by these sorts of artists. Neil Young, for example, has some classic videos and his album covers, like On the Beach, served as a jumping off point for us. We wanted Kurt&rsquo;s personality and sense of humor to come through in the video and shot it on 35mm to give it a natural and classic feel.&rdquo;

HARRYS

Matador

Brendan McHugh

Mikey Rossiter

Nils Bernstein

Rock

Kurt Vile ‘Never Run Away’ by HARRYS

Currently enjoying an exclusive on the Nowness video channel is Vincent Haycock&#39;s monochrome beauty for London composer/producer Raffertie&#39;s stirring Build Me Up.Shot in the South Central district of Los Angeles, Vince has documented the lives of the three Mays brothers, with their family and friends as co-stars, with outstanding cinematography by Evan Prosofsky.&nbsp;Vince told Nowness: &quot;One of the aspects I liked most was the idea of turning the breaks in the song&rsquo;s structure into natural pauses for the voice-overs, a musical element was still required here though so I composed some extra music derived from the choral backing vocals.&quot;

Tash Tan

Sarah Park

Maddy Salvage

Ninja Tune

Raffertie 'Build Me Up' by Vincent Haycock

For Montreal duo Majical Cloudz&rsquo;s Childhood&rsquo;s End, Emily Kai Bock returns with a surreal, cinematic tale of an old man&rsquo;s daily struggle, and his flight into fantasy &ndash; including his dramatic encounter with a vintage locomotive.
The Childhood&rsquo;s End video features Kenneth Welsh, best known for his role as Wisdom Earle in David Lynch&rsquo;s cult TV show Twin Peaks, and also the father of Devon Welsh, one half of Majical Cloudz (with Matthew Otto). And it looks absolutely spectacular, shot by top Canadian cinematographer Bobby Shore on 35mm.

Jason Aita

Martin Wojtunik

Majical Cloudz ‘Childhood’s End’ by Emily Kai Bock

Evan Prosofsky

Director of Photography

Videos featuring Evan Prosofsky

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