Greatcoat Films produce thought-provoking work for brands, creative agencies and musicians. We represent a diverse and eclectic family of writers, directors, animators and producers, bringing a rich range of perspectives and expertise to our work. Our roster of creative storytellers make up the Greatcoat DNA. We exist to tell stories in unique and unexpected ways.

Production Company

Greatcoat Films

AyChibs directs a glitchy, AI-infused promo for Jelani Blackman, featuring Kojey Radical.On the streets of London, we see the artists perform as a surveillance-style system captures information about the environment and the public, eventually morphing into disruptive AI vignettes.&nbsp;"For the Izit video, I wanted to explore the idea of Jelani using his music as a means of protection from the 'agents', sort of inspired by The Matrix," explains AyChibs. "In this case it was represented by AI, which is the current talking point in the ever-evolving world of technology. I asked myself how would it look if Jelani, Kojey and the world around them was being infiltrated by AI as they performed."Innovative and finding a perfect balance between live action and artificial intelligence elements, it's a riveting video with a fast-cut edit and restless cinematography, heightening the angsty, fearful themes of the concept.&nbsp;

United Kingdom

Caprice Brown

AyChibs

Micheal Newton

Abena Mills

Jake Murphy

Simon Stonlland

Simon Oxley

Lara Olutunmogun

Michael Baugh

Josh Higgins

Sarah Cotterell

Sebastian Ziabka

Clokkemaker

Grime

Jelani Blackman ft Kojey Radical 'Izit' by AyChibs

Jelani-Blackman-Ft-Kojey-Radical--'Izit-'-by-Aychibs

Two music genres&nbsp;battle for supremacy&nbsp;in Sau Ali's stylish yet gritty promo for Jords and Lil Sykes' Drill Vs Grime.&nbsp;The narrative follows the artists as they&nbsp;enter an abstract simulation, in which the two genres go head-to-head in a high-energy showdown.Sau Ali recreates a street environment, in which both types of music emerged, in a studio environment - a rather brilliant move.&nbsp;It was also shot by DoP Henry Gill on black and white 16mm film - Kodak Double-x 7222&nbsp;-&nbsp;that adds another layer of texture to the visual.&nbsp;"The track is militant and explosive. I wanted to complement that by exploring the iconography of the two genres," says Sau Ali. "The ‘Street Monolith’ (concrete wall) that Jords &amp; Lil Sykes stand either side of; the huge speaker cone that pulsates above it; and the severed island street scenes... they all speak to these British genres’&nbsp;cultural kinship and shared DNA.[imgtoken data:1]"I wanted to create an experience that emphasised the retrospective theme but leaned towards a surreal tone to match the abstract narrative. DoP Henry Gill bought that to life. Shooting on 16mm and heading down a moody and nocturnal direction that I wanted the world to exist in."Production designer Jade Adeyemi essentially created the entire world. I wanted everything to look like we’d lifted it from real places. Jade understood and accomplished that beautifully."I worked closely on this concept with talented VFX artist Lee Delves before the job was even commissioned. We wanted to achieve an exaggerated visual that still maintained its authenticity. The ‘Genre Morphing’ shot (Jords &amp; Lil Sykes standing on either side of the street monolith) was intended to be achieved ‘in camera’ but budget limitations meant Lee was tasked with creating the shot in post - which actually accomplished the otherworldly&nbsp;sentiment that I was looking for, and is an example of how limitations can lead to great creative solutions in a music video."

Jade Adeyemi

Andrew Patrick

Sau Ali

Benson Udia

Conrad Russell

Henry Gill

Georgia Rae Sterling-grant

Danny Rumbelow

Harry Coleman

Gordon Wong

Daniela Rotaru

Glassworks London

Lee Delves

EMI Records

Kodak

drill

Jords ft Lil Sykes 'Drill Vs Grime' by Sau Ali

Jords-Ft-Lil-Sykes-'Drill-Vs-Grime'-by-Sau-Ali

Dir. Lx&nbsp;directs a slick performance promo for Unknown T featuring Knucks.&nbsp;The video for Right Hand blends dreamlike art direction with opulent locations and playful performances, creating an effervescent energy that bursts off the screen.&nbsp;Dir. Lx channels his frenetic, textural style into every scene of the video, jumping between narrative and conceptual snapshots with flair.&nbsp;

Emily Davies

Leah Abbott

Dir. Lx

Achille Patou

Lucky Light

Quinn Titsworth

Ferencz Radnai

Toby Leary

Sandra Spethmann

Oriane Playner

Nadym Benbakar

Antonin Rubagotti

Salome Carlsen

Daniel Afonso

Lamine Diakite

Stéphanie Villey

Vlad Barin

CHEAT

Island Records

UK Rap

Unknown T ft Knucks 'Right Hand' by Dir. Lx

Unknown-T-Ft-Knucks-'Right-Hand'-by-Dir.lx

Thea Gajic directs a second promo for singer-songwriter Mychelle, exploring how we deal with the emotional turmoil of a breakup.&nbsp;The concept sees a young woman set up a camera in the corner of her house, just in time to capture her ex-boyfriend collecting the last of his things. From there, we see a montage of different moments - from dinner with friends through to arguments on the phone - all from the fixed vantage point the character set up herself.&nbsp;"I wanted to take the typical break-up story and use it to explore our self-obsession and what it might look like if we set up a camera to record ourselves in our worst moments," Gajic explains. "How self-aware are we? How self-aware do we actually want to be?"This question runs through the video, helping to give context to the narrative moments on-screen, and the eventual reset of the character's life, and her readiness to move forward.&nbsp;With a gentle, realistic aesthetic, it's a new spin on the breakup video, with plenty of engaging visuals throughout.&nbsp;

Elena Muntoni

Manni Kaur

Thea Gajic

Erin Corrian-Alexis

Ivor Alice

Sachin Parmar

Shaka Agina

Jak Waughman

Ethan Turner

Amy Dang

Andi Chu

Kieran Taylor-ford

Abi Corbett

FAMM

Singer songwriter

Mychelle 'Hurt' by Thea Gajic

Mychelle-'Hurt'-by-Thea-Gajic

<h3>In the latest of our new series asking British music video-makers about their experiences last year and thoughts on the coming year, we talk to Micheal Newton - Head of Music at Greatcoat&nbsp;Films.</h3>Having established himself as a freelance producer, Micheal&nbsp;looks back&nbsp;upon a busy first&nbsp;year at the helm at Greatcoat, and sets out a wishlist for improvements in the way music videos are made.<blockquote>Working with all the directors we have at Greatcoat has been special and exciting.</blockquote>2022How would you describe last year in a few words?Joyful and educational.What was your favourite project or projects you worked on last year?There were two: Dir Lx's video for&nbsp;Yung Filly ft Chip's Day 2 Day, and Thea Gajic's for&nbsp;Mychelle's Tightrope.[vidtoken data:0]&nbsp;Above:&nbsp;Yung Filly ft Chip's Day 2 Day by Dir. LxAny other project you enjoyed that deserved more attention, or went under the radar?Sau Ali's video for Stay Flee Get&nbsp;Lizzy x Lancey Foux x SL's Simple was severely under-looked. And also <a href="https://www.promonews.tv/videos/2022/05/05/knucks-ft-sl-nice-good-dir-lx/76247" target="_blank">Knucks's&nbsp; Nice and Good</a> by Dir Lx was a super-sick video.What were the best aspects of the job last year?Working with lots of super-talented producers and pairing them up with the right directors so each would bring the best out of the other. Also meeting and working with some lovely commissioners.[vidtoken data:1]Above:&nbsp;Mychelle's Tightrope by Thea GajicWhat were the most challenging aspects of the job last year?Managing budgets and expectations of both director, client, prod company and artist, while still trying to deliver a quality project you can be proud of.<blockquote>Music videos are wonderful... but sometimes it's like squeezing blood from a stone to make them.</blockquote>Best or favourite video or videos last year that you weren’t involved with?That <a href="https://www.promonews.tv/videos/2022/06/13/pharrell-ft-21-savage-tyler-creator-cash-cash-out-francois-rousselet/76822" target="_blank">21 Savage and Pharrell one [for Cash In Cash Out]</a> was spectacular. Refreshing to see a super creative project. In fact, pretty much anything that came out of France. Those lot&nbsp;are smashing it!!What were the trends (creative or otherwise) that you thought were most striking last year?Good question. I don’t look for&nbsp;trends, so it's a hard one to answer. But I think the addition of VFX into micro budgets has helped elevate videos quality much more.&nbsp;What was other cultural highlight (or highlights) of the year?Kendrick and Ab-Soul coming back out with music and visuals. On the UK front, Knucks having a strong year with visuals - and winning at the MOBOs. Dir Lx has been Knucks'&nbsp;partner-in-crime with all the super creative visuals he has provided.Also - Shan Phearon dropped one of the most mental videos I have seen in music videos recently with his Zack Snyder-inspired&nbsp;CGI work on Jazmin Bean's Carnage&nbsp;video.[vidtoken data:2]Above: Jazmin Bean's Carnage by Shan PhearonAny other personal experience that defines 2022 for you?Joining Greatcoat Films as Head of Music was a new challenge that I welcomed and think I did pretty well for my first year. Meeting and working with all the directors we have at Greatcoat has been special and exciting.<blockquote>Our industry needs more open and honest conversations, and for us to stick up for each other more.</blockquote>2023What are you looking forward to in 2023 – both for work and for other parts of your life?I look forward to trying my best like&nbsp;I did last year, with more quality work and exciting creatives that push me and the directors to grow. And as always, I'm&nbsp;trying to find the balance between work and my time. I want to invest more into myself this year as equally as I invest into work.Have you set work objectives for this year and if so, what are they?I am in the middle of thinking about that, and what I want out of this year for myself and the company.Who are the up-and-coming talents that you think will break through this year – or at least deserve to be successful?At Greatcoat - everyone!! Haha. But seriously... I think <a href="https://greatcoat.film/director/sau-ali/" target="_blank">Sau Ali</a> is a hot one to keep an eye for. <a href="https://greatcoat.film/director/thea-gajic/" target="_blank">Thea Gajic</a> is also someone that can do special things if given the opportunity like she has so far. Her second video for Mychelle, for Hurt, has just dropped.&nbsp;<a href="https://greatcoat.film/director/sannchia-gaston/" target="_blank">Sannchia Guston</a>&nbsp;is&nbsp;making some amazing ad work, but all the promo treatments she has written thus far are on the ball and special. She will be a big star to break through once she gets into her promo bag.Finally,&nbsp;I think <a href="https://www.youtube.com/watch?v=4bBKn4QXUqc" target="_blank">AyChibs</a> is another great newcomer to the scene that will flex his creative talent, Chibs has made some great individual work with little to no resources, and now with our backing, I think we will see even more incredible work from him.Sannchia and Chibs are both on CURATED which is the development roster&nbsp;we’ve been working on this past year and we'll be launching very soon.[vidtoken data:3]Above:&nbsp;Stay Flee Get Lizzy x Lancey Foux x SL's Simple by Sau AliWhat is your prediction for the direction of the industry in 2023? And what will be the big trends for the year ahead?Hopefully some more overseas shoots! I think the UK has used up most of their locations. You can spot a location and know where it is.Any other comments about the current environment for music video production and music video creativity? What are the issues that we should be most concerned with?Music videos are wonderful, and they allow us to be so creative - but sometimes it is like squeezing blood from a stone to make them.Here are my&nbsp;bullet points of my concerns with music video production:<ul><li>Not enough lead time in pre-production/not enough time in post-production.</li><li>Not enough money to demand fast and high-quality turnarounds - although we still make them happen.</li><li>There needs to be a rate card for the crew, even if this is broken down into budget criteria (eg, £5k-£15k, £16k-£25k etc). Each criteria has a rate card, as a producer haggling crew for favours and the rate is taxing.</li><li>Directors and Production Company needs more incentive for the work they put into these videos, some royalties or other form of profit.</li><li>Producers deserve to be paid better fees in music promos.</li></ul>&nbsp;This is just to name few of the things I see that could be improved.<blockquote>There needs to be a rate card for the crew,&nbsp;even if this is broken down into budget criteria.</blockquote>If you could ‘make a wish’, and reform or change the environment in which you work in one way, what would you wish for?&nbsp;Greatcoat has a great atmosphere around it and is very supportive. More generally, I think in our industry needs more open and honest conversations, and for us to stick up for each other more. Help welcome new talent into the industry with ease.&nbsp;Have you made any personal New Year resolutions? And if so, how’s it going?I have and it isn’t going so well at the moment! Work has taken over my life, the industry started off with a super bang. It's&nbsp;so busy at the moment, but I will get it back on track. Still got 11 months left in the year to get back on track...• Micheal Newton is Head of Music at <a href="https://greatcoat.film/" target="_blank">Greatcoat Films</a>

State Of Play: Micheal Newton, Greatcoat Films 

Yung Filly - Day To Day Ft. Chip (Official Video)

Mychelle-'Tightrope-'-by-Thea-Gajic-

Jazmin Bean - Carnage ft. Lucy Loone

Stay-Flee-Get-Lizzy-X-Lancey-Foux-X-Sl-'Simple'-by-Sau-Ali-

<h3>How did Shan Phearon make the remarkable CGI-fired ode to auto-destruction that is his second video for controversial alt-pop artist Jazmin Bean? David Knight quizzed the Greatcoat Films director to find out.&nbsp;&nbsp;</h3>&nbsp;In making his music videos, Shan Phearon has become renowned for his drive for perfection for his music artists. It has resulted in a series of beautifully-crafted music videos&nbsp;for the likes of Potter Payper, Nines, Rimzee, Tiggs Da Author and Jvck James.&nbsp;Often the&nbsp;videos of Phearon's featured&nbsp;on Promonews have&nbsp;been the Director's Cut&nbsp;- another function of his perfection. But late last year, his latest video arrived which showed Phearon reaching a new level of achievement, and also his vision fully aligned with that of the artist.Phearon's video for Jazmin Bean's Carnage is a brilliantly conceived evocation of the dark fairytale world of Jazmin Bean, via Phearon's encyclopedic knowledge of music culture, and movies from blockbuster to arthouse, over the past 30 years. Crucially, the director has set the bar high - to somehow match the sensibility of one of those era-defining sci-fi fantasy blockbusters in a British music video. And he has triumphantly achieved his objective.From Jaz and companion Lucy Loone&nbsp;speeding down a city freeway, to flying through the night, post collision,&nbsp;to arriving on a floating rock&nbsp;in space, Phearon places Bean's nihilistic rebellious tendencies&nbsp;in spectacular fantasy setting.&nbsp;It looks like a big, expensive production, as might be made by a top American star.&nbsp;And Bean is not quite that. So how did they do it?The director and his team managed to achieve this by other means, including his&nbsp;vision, incredible dedication, and another valubable commodity - time. Carnage was the result of Phearon being on the Jazmin Bean project for a year. It was by no means all plain sailing, but as he&nbsp;points out, it may offer pointers in how British music videos can kickstart the creative juices in the important year ahead.&nbsp;&nbsp;[imgtoken data:1]Above: Shan Phearon (right) with Jazmin Bean on the set of Carnage.<blockquote>We need to work better - and this is down to the conditions given to work in - if we want&nbsp;world class respect.</blockquote>PROMONEWS: So Carnage&nbsp;was your 11th music video piece in 3 years and part of a year-long project?SHAN PHEARON: It grew to become a double-bill video campaign: first <a href="https://www.youtube.com/watch?v=mMCBrIOV1pk" target="_blank">Puppy Pound</a>, which led later to Carnage. A year invested, from 2021, concluded 2022. Ever seen ‘Heart of Darkness: A Filmmakers Apocalypse’? I’m joking. But it’s the end of one era, start of another.What did you have to work with when you got the brief for Carnage?SP: Jaz wanted to drive. They needed a car crash. And a flowery field at some point. Just top-line to decipher. By then, I’d spent months studying the artist and cult fanbase for Puppy Pound. Immersed like ‘method’ Christian Bale in the Jaz metaverse, I had enough to work with.The label had set us up with healthy time to nurture artist-to-director creative rapport, where I could coach artist development, as well as develop the videos. Getting results, the very supportive Island label team (Holly Williams, Emily Jefferies, Max Creswell and co) and artist manager Donny Tourette, whom I worked closely with, trusted the process.Now I had to bespoke tailor the next chapter in the artist’s arc and I could identify what was going on in their mind with all my insights as: an emotional joy-ride.[imgtoken data:2]What was the key aspect in your treatment that Jazmin and the label loved?&nbsp;I think they were surprised at how I’d become an extension of the artist’s psyche, maybe. I always try to respond to the interior of an artist. I want to understand them as human beings as well as a cultural avatar, so I show that.<blockquote>The subtext and journey of this video... has been a redemption arc.</blockquote>I’d written in solutions too for endless creative spec obstacles: car crashes (how the f*** we doing that?), flowery fields (unavailable in winter), lambs (unavailable in winter), out of this&nbsp;world fantasy road trip routes (ffs).We’d used Puppy Pound to warm up and test CGI expansion of Jaz’s distinct world-build, but now we were really going to architect a whole metaverse beyond with Carnage.[imgtoken data:3]What were the main references across the project?A vast library. Like sampling culture almost, I view it like my fave music producers (i.e. Dilla, Madlib, Burial, Fly-Lo, Premiere, Timbaland, Metro Boomin etc.), that approach. Many cultural fusions.It’s like crate-digging: David LaChapelle, Vivienne Westwood, TLC, Soundgarden, Slipknot, Nirvana, Busta, Portishead, Stefani, Gaga, Britney, Lil’ Kim, Devon Aoki in Fast &amp; Furious 2, the Disney+ Channel, 1994’s Natural Born Killers, 1995’s Ghost In The Shell, 1996’s Twister, 2000’s era Zack Snyder, Frances Lawrence’s 2006 Constantine, Wachowski Sisters’&nbsp;2008 Speed Racer, Lars Von Trier’s 2011 Melancholia, Malibu Barbie, rap mixtape culture GOAT iconography, essays on BPD, bi-polarity, autistic savants, depression, suicide, nihilism, doomers, and so on.Everything shares a dot-connection, even if unrealized before through other’s lenses. You layer the samples, sometimes in a single composition. Visual musicianship, visual symphonies.No idea’s original. Originality is only a sum of its un-original parts. I think we’re all just striving to unearth something novel in that.[imgtoken data:4]What attracted you to the song, and to Jazmin as an artist?I actually DM’ed Jaz in Autumn 2019 after seeing their wtf video for ‘Saccharine’. Nothing, air. Understandable. Two years later a brief from an instinctive commissioner lands in my inbox… cosmic.I admire what Jaz symbolizes, their composite influences, the freedom of expression. I’m magnetized to artists whose output and framework for seeing things is outside of the norm - outsiders, misfits, outcasts, outliers – new age thinkers offering to shift paradigms. Felt I was living my Bjork, Manson, Arca, Kate Bush, The Cure, Linkin Park fantasies.True story… Jaz’s mum Angie, as a drummer, of Filipino heritage, was in a ‘90s all-girl UK Metal band called Fluffy – whose ’97 single ‘Black Eye’ is directed by Floria&nbsp;Sigismondi. Bloodline’s mad.I’ve also done a few music video pieces that interplay with takes on psychological health, or mortality. Repeat motifs. I like exploring powerful ideas with my artists in unexpected ways.[imgtoken data:5]Above: The Shan Phearon workstation, and creative inspiration.Is it true you went into self-imposed exile for the Carnage post-production phase?Sort of. I was locked away in a studio for a while, with limited outside contact, except my lead VFX Artist Gino Fernandez 24/7, and the artist/label remote.To hibernate and meditate with the material, shaping step-by-step. Flow-state. Musicians do it whilst recording albums. Directors are kinfolk. Label, artist and management wanted to empower us, to trial more progressive processes. Everyone appreciated commitment.[imgtoken data:6]Is it fair to say this is a departure for your work in music videos - both musically and in the style of the video?&nbsp;Maybe. It makes its statement. But it’s probably also a spiritual successor.I’m very proud of my roots, and my video foundations, in Alt Rap, R&amp;B, Soul etc. I carried one ethos at the start of my MV journey – to help elevate the cultures I was codified by in youth. That’ll continue. It’s a Hip Hop-centred attitude and we carry some of that energy.<blockquote>I did over a year of CGI VFX filmmaking historical research - the ‘90s, the ‘00s and in the ‘10s.</blockquote>But I’m an eclectic head too. Always loved Electronic, Alternative, Experimental Pop, etc. Same with visual languages. Many others like me, yet they’ve become caught in the conditions of the current British commissioning glass ceiling, or stifled by their digital environments and own audiences.So this video asserts for directors of similar heritage that they deserve a shot at other music genres too. Can cross-pollinate worlds. Bring alternate perspective.There’s a controversial debate raging in our circles that the UK music video scene has been flat-lining in the last period. If stagnation and a self-regurgitative tribal visual culture, here’s at least one recipe to discovering innovative angles eventually. Eschew pigeonholes. Open minds.[imgtoken data:7]There are some beautifully conceived and executed sequences in the final video. Can you explain how you prepared and then achieved the main set pieces in the video?• The artists in the speeding car on the highway:&nbsp;Ghost In The Shell/Manga inspo. I devised a giant green-screened rotating turntable to put the physical car on. I did over a year of CGI VFX filmmaking historical research, the ‘90s, the ‘00s and in the ‘10s, three key eras of advancements, so I could better direct workflow. Think I picked this one idea up after watching some BTS for The Fifth Element (1997). It’s all exploration of artifice.I’d been thinking about how people at times say some CGI “looks dated”. But I feel like, if the CGI in a 1999 film looks like 1999, that’s unavoidable for those people in 1999 – so really it’s part of the charm. Their CGI artistry is an endearing sign of those times.This led me to thinking more about the idea of retro CGI nostalgia. To purposely have one or two elements feel almost like retro 2000s CGI VFX, because the 2000s decade was the first real era of CGI overload creeping into cinematic culture. Hypothesis test.[imgtoken data:8]<blockquote>I got my team to build a big green screen trampoline and paired that with Phantom cameras.</blockquote>•&nbsp;Jazmin and Lucy Loone floating, post-car crash:&nbsp;Melancholia/Watchmen/Donnie Darko/Portishead kinda inspo. I got my team to build a big green screen trampoline and paired that with Phantom cameras.What’s mad is that I wrote this idea as a scene in an unrealized Pa Salieu/slowthai treatment a long time ago. Jaz’s chorus just hit me emotionally and all I could visualize is what you’re seeing. Lucid dreams recycled from the vault.[imgtoken data:9]•&nbsp;The main tornado sequence with the falling car and the flying goat:&nbsp;Twister inspo. The most complex VFX and a few experimental touches. To me it’s the absolute power of CGI as an artform, one often maligned, disrespected as ‘low culture’, misunderstood. Some cineaste are caught in the ‘practical VFX’ myth - too many Chris Nolan YouTube fan essays.<blockquote>When was the last time we saw a big natural disaster tornado going wild in a UK music vid?</blockquote>Both practical or CGI can be respectable solo, or often ultra-powerful when combined. So that’s the moment I’m proudest of. Gino (proud of him too) worked on that for weeks, whilst literally on a Covid deathbed, as a bunch of other things were falling apart around us both in our lives.I remember its earliest draft landing in my WhatsApp whilst I was flat-out on the floor and I realized we’d just reached transcendence. Eureka. Like, when was the last time we saw a big natural disaster tornado going wild in a UK music vid? Did they manage that in the UK MV scene during ‘90s / 00’s golden age? And we’re doing it now in these austere times?!I hoped it would be symbolic, defiant and bombastic, lol.Also, the flying goat easter egg is inspired by the iconic flying cow in Twister. No animals harmed.[imgtoken data:10]The piece has a unique aesthetic. What’s the 35mm and digital image fusion idea?I’d discovered over time that the theme of artifice – maybe response to the virtual simulation-style hyperreality of internet culture - is a big one in Jaz’s metaverse.So I designed a ‘synthetic-analogue’ appearance. We formulated a special and more complex than usual process so the CGI became 35mm.Modern CGI-driven videos are nearly always too polished. And most 16mm / 35mm-driven videos are aping a nostalgic / timeless simulacrum idea.I wanted us to bridge two seemingly opposing schools of thought. Hyper-digital and analogue marriage.[imgtoken data:11]Above: Shan Phearon (foreground, back to camera) supervises the positioning of Jazmin's crashed car, on set of the Carnage shoot.What were the biggest challenges in making this?Any project can have these if going in with ‘elite mindset’. We do our best to educate those around, to uplift them. We don’t try to encourage mediocrity. New worldviews, are the biggest challenge.Some feel in our UK music video scene culture, it’s a more and more for less and less era. But if tight budget, offer time. If tight time, offer budget. Here Film Creatives are often denied both tools. Which is why many UK directors, EPs and commissioners are suffering, as is the art.But label,&nbsp;artist and management equipped us more time to craft on Carnage, they believed in optimal. That super-powered us, over a common industry challenge.<blockquote>Maybe there’s a 15 year old fan somewhere and we saved their life last night. That’s our hope.</blockquote>We’re in a phase where even at our UKMVAs, parts of our scene get slept on. Output from international, outboxes ours. Briefs go to overseas directors and our UK pool of talent isn’t nurtured. We need to work better - and this is down to the conditions given to work in - if wanting world class respect. Reform and new frameworks are healthy convos for everybody’s benefit in ’23 on.I guess tricky junctures included first draft with pre-viz jpegs keyed into backgrounds and everyone looking at it like “wtf is this Blue Peter sh*t”? Haha. And then it’s Director’s job to encourage imagination, combat over-thinking in the abstract. Delicate psychological processes that&nbsp;I’ve learnt to handle.Also the artist wasn’t always in the best of health. With resources, we were punching above our weight. As well as over 100 shots of VFX to be crafted out and made fluid - an insane feat. But all of us together as a collective unit, we were on a mission for our artist’s next era.In the end, everyone was overwhelmed, as were those most important that we all really do this for: the music fans.[imgtoken data:12]And what was the most satisfying thing about making this?Well, this is public info, but the artist sadly had to spend the summer in rehab for addiction. They’re very open about these things, it’s part of their art. We all had to manage that, with strength, collectively.Addiction in a variety of forms is a deep-seated epidemic, especially amongst the creative community, exacerbated by this current socio-political and digital climate. Directors feel there’s a growing mental health crisis in the UK music video realm at the moment that’s going ignored and will reach a tipping point. Musicians I know are experiencing a similar epidemic in their scenes. Artists can understand each other.So I feel like the subtext, as well as the journey of this video to release, has been a redemption arc.We’re very proud of the artist, who is doing better. We’re proud of the video, because it’s healthy when this medium is an outlet for expressing the troubled weight of the creative psyche. Unbridled expression can save lives.Maybe there’s a 15 year old fan somewhere and we saved their life last night. That’s our hope.[imgtoken data:13]What were the key decisions that made the vision all come together as well as it does?Translating the artist, playing the orchestra, incepting vision, etc. It was a coach procedure.I give flowers to my holy trinity: DoP Nathalie Pitters approach with lighting, production designer Anthony Hensman’s practical art direction, and indispensably our ride-or-die Lead VFX Artist Gino Fernandez who saved my life. They lived on this whole other planet with me and Jaz.Plus the whole gang: super-producers Mel Massey, Talor Hanson, Maneet Sandhu, legendary EP Simon Oxley, 1st AD Paolo De Battista, Becky Seager on Wardrobe and Sofia Sjöö on MU.All were about craftsmanship and worked with heart, some for extensive periods. This lot were my heart.It starts with character first, an assembly of people with it. If the assembly ‘believes’, the mosaic of creativity will follow.[imgtoken data:14]What did you learn that you didn’t previously know, or your biggest take away, from making this video?I feel like we cracked another code and Walter White formula.Imagination… nothing is impossible now.I’m thankful for everyone that has shown us love and support for our effort in these current bleaker times for the UK music video scene right now. Hasn’t been easy for some of our peers. We’re just trying our best to keep this culture and our people energized. Journey continues.[vidtoken data:0]• Shan Phearon is based at Greatcoat Films. Watch more of his work <a href="https://greatcoat.film/director/shan-phearon/" target="_blank">here</a>.&nbsp;

Shan Phearon

Shan Phearon on Jazmin Bean's Carnage: "I feel like we cracked another code... nothing is impossible now."

Jazmin-Bean-'Carnage-(feat.-Lucy-Loone)'-by-Shan-Phearon

Shan Phearon directs a hypnotic fantasy for Jazmin Bean, featuring&nbsp;Lucy Loone.&nbsp;Combining clever practical elements, novel visual effects and imaginative CGI world-building, the video follows the two artists as they cruise around an otherworldly environment, causing carnage at every turn.[imgtoken data:1]The unique aesthetic is achieved through an innovative hybrid of digital and 35mm fused into one image, which heightens the surreality of the eccentric concept.&nbsp;A pastel-pink nightmare with huge ambition, it's a brilliant piece of work from Phearon and team.[imgtoken data:2]&nbsp;

Anthony Hensman 

Lewes Bridson

Rebecca Seager

Talor Hanson

Melissa Massey

Emily Jeffery

Holly Williams

Richard Johnson

Nathalie Pitters

Maneet Sandu

Paolo De Batista

Lou Macnamara

Rebecca Richards

Sofia Sjöö

Gino Fernandez

Island Records UK

Jazmin Bean ft Lucy Loone 'Carnage' by Shan Phearon

Thea Gajic&nbsp;directs a heartwarming promo for singer-songwriter Mychelle.The video opens with a single dad - played by Michael Balogun -&nbsp;juggling the cooking and washing up on his birthday, appreciative of the well wishes via text message, but obviously lacking the social excitement he is longing for.That all changes when his friends shop up and throw a surprise birthday party, helping lift the mood and celebrate the day the way it should be. It's a simple concept done well, and offers an optimistic and joyful message. Plus what we all need right now... a&nbsp;happy ending.Thea Gajic explains that her idea for the video was the result of combining two separate briefs that Mychelle had in mind. "We wanted joy to be a through thread of the video to match the feeling the song evokes while also leaning into the lyrics - which actually have a more sombre meaning," she says.&nbsp;[imgtoken data:1]"I wanted to focus on community and the joy we create when we show up for each other - amidst this though, we can still feel quite lonely. Especially if we are going through a transition period. I spoke to Michael, our lead, about imagining if this was the first birthday he was celebrating without his partner - as a single dad - and what feelings they may evoke."I have a lot of close male friends - lots who are fathers too - and so wanted to explore that narrative as opposed to it always being a single mother situation. How do men deal with parenting pressure? And feelings of aloneness? It’s something we either don’t see or don’t feel they have a right to because of how hard mothering might be. I wanted to dip into that a little and see what came out of it.&nbsp;"In the end though, when Michael sees his son asleep - he realises he isn’t actually alone and a piece of him is with him all the time - despite how difficult things might get. Ultimately, the tightrope he is on, isn’t walked on alone."&nbsp;

Maisie Cunnett-the Artist Partnership

Joshua Gochez

Ana Gonzalvo

My Management

Sylvie Briggs

Simon Battensby

Lee David Brown

Belle Palmano

Amanda Marie-rose

The Assembly Rooms

Henry Howard

Wash

Michael Balogun

Mychelle 'Tightrope' by Thea Gajic 

Elton and&nbsp;Britney's reworking of Tiny Dancer gets the Joel Corry treatment, with a glossy video from Rebekah B Creative.&nbsp;"We knew the styling and choreography curated as a homage to Britney and Elton had to be the heart of the idea," says Rebekah. "We kept everything else fairly simple to let those elements speak the loudest."Shot in a studio with plenty of slick transitions and pulsating lighting, the video looks amazing, and matches the flurry of movement on-screen."The biggest struggle in videos like this - where the camera movement is almost choreographed with the routine -&nbsp;is the Steadicam op having an understanding of musicality. Luckily [Steadicam op] Marcus (Albertsen) grew up with dancers so it was an easy day."

Yazmine Sabri

Rebekah B Creative

Lucy May Miles

Marisa Garner Associates

Ailsa Robertson

Sam Crooke

JP Garcia

Rafael Ramirez

Harry Guest

Marcus Albertsen

Charlie Ring

Jake Loft

Kristiana Zhekova

Soo Hanh

Suzette Brisset

Alex Price

Sofia Paradis

Mark Whelan

Elton John, Britney Spears (Joel Corry Remix) 'Hold Me Closer' by Rebekah B Creative

Elton-John,-Britney-Spears-(-Joel-Corry-Remix)-'Hold-Me-Closer'-by-Rebekahbcreative

Georgia Twinn laments the dark side of the online experience, in Rebekah B Creative's promo for Raised By The Internet.&nbsp;Framed in the centre of a selfie-light, we see Twinn recording herself on her mobile phone in a small room, before being transported to a dark cyberspace abyss.&nbsp;As the view count shoots up, we see the artist's features get manipulated by AI filters, and her body tethered to a wall of screens.Dark and minacious, the grimy aesthetic perfectly suits the cautionary tale, and contrasts her vibrant styling.&nbsp;"Georgia is a TikTok OG, so she wrote this track from a place of experience," Rebekah says.&nbsp;"We start with Georgia posting on the internet and watching her post go viral, altering her and changing her until she’s connected to her first viral post as if it were a life source."

Matt King

Matt Nolan

Paul Mackay

Samantha Locock

Micheal Baugh

Tuncer Ozdemir

Nevzet Altinisik

Movement Coach : Taylor Dean

Benjamin David

Grace Ellington

Zach Bleach

Black Kite Studios

Georgia Twinn 'Raised By The Internet' by Rebekah B Creative

Georgia-Twinn-'Raised-By-The-Internet'-by-Rebekahbcreative

Dir. Lx directs a breezy promo for Knucks ft Ragz Originale.&nbsp;Interspersed with frenetic cutaways of city streets and snapshots of&nbsp;a romantic narrative, the slick visuals match the upbeat pace of the track, and visualise the themes in an engaging way.&nbsp;Cutting between high contrast black and white, and warm-toned colour palettes, the aesthetic is glossy yet intimate, and perfectly fits the concept.&nbsp;

Levile TV

Ede Dugdale

Massimo Filippi

Joe Mutale

Danny Rumbelow 

Alex Kryszkiewicz

Robert Barlow

Eyaz Christy

Riccardo Garfalo

Deemy

Glassworks

Sean Matthews

Knucks ft Ragz Originale 'Far' by Dir. Lx

Knucks ft. Ragz Originale - Far (Official Music Video)

Knucks and&nbsp;Kwengface take centre stage in Dir. Lx's compelling promo for Lucious.&nbsp;Navigating the world of paparazzi and relentless media attention, we see the artists surrounded by middle men and journalists, whilst they try and move through their day-to-day lives with as little disruption as possible.&nbsp;Though left purposefully abstract in terms of narrative, the video packs in lots of references - including a slick nod to Pulp Fiction and The Dark Knight - whilst weaving Lx's signature style into every frame.&nbsp;The video is anchored by strong performances and engaging vignettes, which work just as well as standalones as they do part of the larger visual world.&nbsp;

@naiissance

Ede Dugale

Dayo Moshood

Sandy Abuah

Mark Henry

Kristof Szentgyorgyvary

Miguel Carmenes

Liz Adeleye

Ayokunle Delano

Adam Fox

Aston Born

Joe Munro

@pixal_media

Tru Tribe

Knucks ft Kwengface 'Lucious' by Dir. Lx

Knucks ft Kwengface - Lucious (Official Music Video)

Camden Cox is hooked into a relationship that veers between the yummy to the toxic - and back again - in Rebekah B's stylishly-shot video for Elevated.Shot in a deserted nightclub, reality and fantasy collide in a number of dreamlike set-ups crafted with the characteristic skill by the&nbsp;director, with terrific use of colour. And the passion between Camden and her co-star&nbsp;looks pretty convincing.

Greatcoat Films

Production Company

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