Colourist

Kenny Gibb

Oscar Sansom releases the first video from his collaboration with Creeper for&nbsp;theatrical nightmare Born Cold.Blending elements of theatre and performance with cinematic vignettes, the visual is an introduction to a new era for the group, and&nbsp;to a darker set of characters and themes. Thematically borrowing elements from dystopian fiction, glam rock and iconic videos in the genre, it's a visual feast that promises to expand and deliver even wilder imagery in the chapters that follow.&nbsp;

United Kingdom

Oscar Sansom

Beth Allan

Forest Of Black

David Liddell

Nico Biarese

Bartek Kloc

Steve Arthur

Marie Lidén

Charlotte Clutterbuck

Amp; Ainslie Currie

Creep Post

Dom Mckiernan

Danny Corr

Roadrunner Records

Alternative Rock

Creeper 'Born Cold' by Oscar Sansom

Creeper-'Born-Cold'-by-Oscar-Sansom

Watch out - there’s a romance on set. Charlie Sarsfield directs this summery promo for Craig David, set in steamy Ibiza.This amorous throwback is classic Craig ‘Love-at-First-Sight’ David. He catches the eye of a special woman on his way to a video shoot, and after being separated by circumstance, he encounters her again on set. Keep an eye out for cameos from Sarsfield and the Burning Reel team.

Charlie Sarsfield

Mike Heath

Burning Reel

David Wright

Fernando Monge

Tony Tupra

Eddy

Aracely Navarro

Charlotte Kennedy

Katy Gill

Flaura Atkinson

The Quarry

Marisa Garner Associates

Daniel Millar

Sony Music

Gail Fear

Contemporary R&B

Breakbeat

Dance

Craig David 'When You Know What Love Is' by Charlie Sarsfield 

Craig-David-'When-You-Know-What-Love-Is'-by-Charlie-Sarsfield-

This sweet&nbsp;video for Malka&#39;s Let It Go by Lee Bamsey&nbsp;explores female companionship through two little girls, Floria Bamsey and Matilda Macdonald,&nbsp;who encounter trouble&nbsp;- in the guise of a nasty Humpty Dumpty.But they manage to&nbsp;get through their little nightmare scenario, with the help of a friendly lion...

Lee Bamsey

Tamara Schlesinger

Steven Gray

Adam Feeney

Ryan Peter Wade

Martin Macdonald

Locomotion

Lee Bamsey/martin Macdonald

Tantrum Records

Malka 'Let It Go' by Lee Bamsey

Malka-'Let-It-Go'-by-Lee-Bamsey

Lee Bamsey directs Malka&#39;s video for&nbsp;Into The Night, with the singer in&nbsp;UV facepaint,&nbsp;and surrounded by&nbsp;neon&nbsp;in God&#39;s Own Junkyard. The focus is on her performance &ndash; intercut with interesting light-inspired shots.

Tamara Macdonald

Ellie Worthington

Malka 'Into The Night' by Lee Bamsey

Malka-'Into-The-Night'-by-Lee-Bamsey

Here's a dark and sexy beast for The Newham Generals on Dizzy Rascal's new label Dirtee Stank - featuring an incisive cameo by the label founder himself - directed by the young team Hope Audikana.
Dizzee's always a charismatic presence, but it's the gritty, provocative storyline and excellent direction and editing which marks this out as special stuff.
Hope Audikana is Ryan Hope and Egoitz Audikana who got together as runners a few years back (Ryan is from Sunderland, Egoitz from Bilbao) and are now signed to Great Guns for commercials.
They also profess not to be grime fans, but they'll be in demand after this...

Hope Audikana on making the video for Newham Generals' Head Get Mangled
"Rachel McClelland [Dirtee Stank's label manager] approached us to do a video for the guys last year, and we were unsure as we were not huge fans of grime. However, when we heard the track, it was what we had been waiting for really.
"The brief was open, and we were invited to submit an idea. We were a bit unsure how they would take it, but they were digging it and it was a massive pleasure to work with people who support your creativity rather than pulling it apart.
"Making the video itself quite possibly took a few years off our lives. We shot on location in Surrey in an abandoned hospital, with no electricity, water or toilet, which definitely made us dartboard material over at Arri.
"However, we have to say, Tony Miller and his men were simply amazing. We know them very well from our running days, but they really come through for us here. Not only was it a long, arduous day, they made our film look absolutely amazing under the hideous circumstances!
"All in all, it was all about the crew on this, it continues to excite us to this day the attitude people demonstrate in making films. Inspiring stuff."

Rebel St

Hope Audikana

Rachel McClelland

Tony C Miller

James Dyer

Andrew Littlefair

Beth Roberts

Mark Whelan/Ben Canny

The Newham Generals’ Head Get Mangled by Hope Audikana

One doesn't like to condone violence - but in this case we'll make an exception.
Because even though the guest vocalist in the new BPA video is actually a near-lifesize puppet manipulated in-plain-sight by Bunraku puppet-masters, he's still Iggy Pop. And you don't mess with The Ig.
This delightful video is directed by Nick Ball - who also directed the previous BPA video for Seattle, for his brother-in-law Norman 'Fatboy BPA Slim' Cook . Darkvast made the brilliant puppet who is, let's face it, arguably more Iggy-like than the guy currently fronting the <a href="http://uk.youtube.com/watchv=tEcFlyrgcUY">Swiftcover ads</a>.
And Norman supplies another Fatboy Slim-class cameo, coming off a bad second against the still-reigning bad boy of rock.

Nick Ball on making the video for The BPA feat. Iggy's He's Frank
"The first video I ever did was for the BPA track 'Seattle' featuring Emmy The Great. It showed Emmy's head broken up into cubes which turned and slowly morphed Emmy's face from one look to another. Norman Cook aka Fatboy Slim aka the brains behind the BPA - Brighton Port Authority - loved the 'Seattle' video so much that he asked me to do his next one too.
"I decided I wanted to use a puppet or puppets in the video as soon as I heard the track. Having already worked with the puppet masters at Darkvast on a much smaller project I was hungry for more puppet action. This was the perfect opportunity to go one step further and the builders of the Iggy Puppet - Jonny Sabbagh and Will Harper - were really excited about creating a twisted Iggy doppelganger.
"Norman's main concerns from the beginning were that we didn't make a happy or twee puppet video as he was keen to exploit the dark edge the Iggy vocals had brought to the music. Together we developed the concept from puppet Iggy dancing into puppet Iggy fighting with his own Bunraku puppet masters. We were given carte blanche to make our puppet look as scary, demented and deranged as possible.
"Before the shoot we watched as much footage of Iggy performing as possible and then tried to replicate it as best we could. The real Iggy loves a mic stand when he's on stage so we used one too as the base for our performance. The rest of the moves were created by simply assessing what it was possible for our puppeteers to do and what wasn't. We had a stunt coordinator choreograph the fight sequence and perform the stunt.
"The last shot of the day was the last shot of the video. Everyone was really tired and we nearly ran out of bottles to smash over Norman's head, he was really relaxed about the high number of takes we did even though we'd cut his head open. It's not as easy as you might think to be bottled by a puppet Iggy Pop."

Draw Pictures

Nick Ball

Camilla Klich

Daniel Bronks

Marek Budzynski

The Brighton Port Authority featuring Iggy Pop’s He’s Frank by Nick Ball

The-Brighton-Port-Authority-featuring-Iggy-Pop’s-He’s-Frank-by-Nick-Ball

The new one for Leon Jean-Marie is another good example of how Ross and Bugsy of OneInThree deliver fine, innovative graphic ideas.
It's a performance video with an interesting twist - or rather, wobble. The intriguing effect seen here comes courtesy of Kevin Atkinson - aka the <a href="http://methodart.blogspot.com/">Method Artist</a>. Kevin is a Canadian computer vision programmer and OneIn Three spotted his 'wobble' test on YouTube.
"We emailed him a month before saying we thought his effects were cool and would he like to possibly work on a music video at some point in the future," explains Ross. "Then when we heard the track we knew it would be perfect, so we called Kevin and asked him if he could come over in a week to make a music video. We flew him over from Ontario and he was brilliant: he was happy to stay in our weird flat, and did an amazing job."
It's clever - so we trust these guys will be firmly at the helm when it's used for an ad. Which is bound to happen.

Colonel Blimp

OneInThree

Tamsin Glasson

Christopher Sabogal

James Rose

Carmen Montanez

Leon Jean-Marie’s Bring It On by OneInThree

Ross Cooper and Bugsy Riverbank Steel aka OneInThree are back with a brace of new videos, one for Leon Jean-Marie (to be seen on Promonews shortly), and this one for those lascivious French dudes The Teenagers.
It's a loving homage to Eighties movie posters - and in particular the art of Drew Struzan - and considering it was created by Ross and Bugsy on a tiny budget it looks amazing.
Eight separate layers of full HD (shot on the HVX 200) were shot in a green screen studio - here (in lower picture, second and third from right respectively) are Bugsy and Ross in the studio with The Teenagers. 
The results were graded by Kenny Gibb at Moving Picture Company, and this graded footage then keyed and composited in After Effects by OneInThree at ustwo. The additional 3D and effects shots were a mixture of Maya &amp; Trapcodes Echospace plugin.
On-set photo: Guy Stephens

OneInThree (Ross Elliot Cooper & Bugsy Riverbank Steel)

Milo Merok

The Teenagers’ Make It Happen by OneInThree

James Appleton directed the highly successful video for The Futureheads' last single The Beginning Of The Twist - the cheeky offspring of Take On Me and Over And Over - and now he's come up with a worthy successor.
For Radio Heart, James has placed the band in (surprise, surprise) an old-fashioned trannie - for all you youngsters, that's a transistor radio.
In fact the whole thing takes place in a pre-digital world, when it was all about twiddling knobs and young men and women sat in bleak bedsits with only the wireless for company. I remember it well.
But why is the drummer plugging a TV channel

James Appleton on making the Futureheads' Radio Heart video
"I knew I needed to involve a narrative element, something with some kind of progression between the guy and the girl in the song. I wanted to keep it fun and surreal, and to keep performance material at the forefront in the promo.
"I started to think about radio waves and heart monitors. Moving further I looked at radio tuning dials and how they show different frequencies, and thought it would be fun to split images as though different parts are on different frequencies, drifting in and out of tune with each other.
"Sound can of course create pictures in the mind's eye, and I thought I could build the narrative of the guy and the girl around this. They are searching for each other in their own imaginations by listening to each other's voices on the radio, and dreaming. Tonally, I wanted to tap into the slightly melancholic undercurrent in the track, but again without getting too serious about it.
"In terms of making the video, overall I wanted to go for an analogue look rather than a digital one, organic rather than synthetic. For the radio waves we filmed a real oscilloscope rather than using animation. James Hatt [production designer] and I made sure we found an old analogue one so that we got the natural movement and luminance in the waves. The sound designer Alan plugged an old synth into it to make different shaped waves. In post these were then keyed, re-coloured and laid into the shots.
"I also wanted to use a real radio for the foreground radio dial images and key through these, rather than animate. I knew that when panning across the radio on a macro lens it wouldn't be perfectly smooth, but I wanted the character this adds. We did look through many radios before finding the right one!
"I was able to have two small two wall sets, so I tried to make sure the involvement of the characters in the promo made full use of this. I wanted his set to be grey and aged to stand for lifelessness, monotony, drabness, and for her set to be predominantly red, for life, love, passion, bringing colour to his world. I thought that the very simple contrast would work in this context.
"Mike (the DoP) and I talked about quite a quite high contrast lighting style that had a sort of surreal fairytale flavour, but also highlighted the two actors' isolation, like Edward Hopper's 'Girl in the Café'.
"During our Flame time, Alix came up with a great idea to key through footage of a plasma ball to create the waves, which come from the top of the radio mast. We also saturated foreground waves slightly more than background ones to create a bit more depth in the images. Finally we applied a soft grain and vignette to age the film and glue the thing together visually, thereby marrying the overall look with the ideas in the promo."

Grasshopper Films

James Appleton

Clare Spencer

Michael Beresford

James H

Alan Dobson

Gideon Mountford

Futureheads’ Radio Heart by James Appleton 

At last we can post the video for Sonny J that Phil Sansom and Olly Williams - aka Diamond Dogs - shot just before Christmas, and premiered at BUG 05 last month.

HSI London

Diamond Dogs

Malachy McAnenny

Will Bex

Phil Sansom

Prime Focus

CJ Hassay

Sonny J’s Enfant Terrible by Diamond Dogs 

The highly inventive new Futureheads video has echoes of an imperishable classic. Or perhaps two. 

So there's a considerable nod to Steve Barron's legendary video for A-ha's Take On Me. But as green-screen is also an integral feature of the video - the band find themselves comped into scenarios from cityscapes to desertscape - Nima Nourizadeh's modern classic for Hot Chip's Over And Over is arguably also an influence. But Appleton's video has a momentum all it's own, and the effects work, executed by a team at Golden Square Post, is excellent. The scenes where the band are playing in the storyboard world were tracked in 3D in the programme Syntheyes and then the tracking data was imported into Flame.
The storyboard art, by Alan Bennett, is very good too. And the video is now No 1 on MTV2 chart, proving that the look pioneered by Take On Me still goes down a treat. 

James Appleton on making the Futureheads' The Beginning Of The Twist video
"At the start of the production process I started to worry about how much storyboarding I was going to have to do in a very short amount of time and had the idea that storyboards could be the basis of a promo, one that would try to quite playfully show some of the mechanics of the promo production process.

"As a kid in the 80's I remember watching so many promos which tried to create other worlds in-camera in studio settings. I remember seeing A-HA's 'Take on Me' and being pretty fascinated by it, one of those promos that was talked about in the school playground, and I thought it would be fun to nod in its direction here.
"With the concept it would have been really easy to bring lots of doc-style material into it, but I wanted to try to avoid this. There was a roaming camera on the shoot picking up observational type shots - snippets, ECU's, details of things which weren't too general, and mainly concentrated on getting shots of the monitor within the studio.
"Golden Square did the post-production, and the combination of low-fi and hi-fi involved, simple quick pencil sketches with 3D tracking was quite exciting to me. The process was more involved and dynamic than I'm used to. I'd been doing a lot of flat 2D compositing with camera movements applied as an effect afterwards, but here we were working with 3D tracking on shots with zooms, and pans on top of dolly movements. 
"The 3D department modelled the studio from measurements and put it in an environment sphere to help out with some of the shots. This really opened up possibilities because we weren't limited to placing things on the walls in the studio; we could build up layers and depth in a space much larger than the studio. 
"I didn't want to make it too elaborate with too many elements as the shots are quick, but I think this does makes all the difference in the city and desert sections, in what was a really good experience for me."

Joel Devlin

Andrew Curtis

Futureheads' The Beginning Of The Twist by James Appleton

Kenny Gibb

Colourist

Videos featuring Kenny Gibb

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