Producer

Liz Kessler

<h3>When it comes to making pop promos there are few people more experienced than the two women who now head up 1stAveMusicVideos, the new division at 1stAveMachine. We spoke to Liz Kessler and Randi Wilens about their big new challenge - and why it's happened now.</h3>They have each been doing their thing on both sides of the Atlantic for a while now&nbsp;- and occasionally crossing paths and collaborating on projects, which has led to their enduring long-distance friendship. But now they are working in tandem - allowing for ann eight-hour time difference -&nbsp;for one of the big international players in commercial production.1stAveMachine has grown from originally being primarily an animation production company, when they were founded in New York in the early Noughties, to being wholly multi-disciplinary, and global. And now they have added Music Videos to their offering – thanks to Liz Kessler and Randi Wilens.It’s fair to say that both women have big reputations in the world of music video production, for both their considerable achievements and considerable personalities.In London, Liz Kessler first established herself as in-house video commissioner at Island Records in the early Noughties. ("I came in for a couple of weeks to sort out a few outstanding invoices and ended up staying for 5 years," she says). She then moved over to production later in the decade at Academy Films. She remains the only person to have won both the Best Commissioner and Best Producer awards at the UKMVAs.Over in LA, Randi Wilens came into music video production a decade earlier, at the beginning of the 1990s, and has been representing directors and executive producing their videos ever since, firstly at commercial production companies like Bedford Falls, before establishing her own agency, RW Media.They both have garnered huge amounts of experience with A-list artists and A-list directors down the years. At Island, Kessler commissioned videos for Amy Winehouse, Busted and&nbsp;Sugababes. For the latter she commissioned the video for Freak Like Me. "Working with not one, but two legends at the same time making that video - Dawn Shadforth and Sophie Muller," she recalls. "And it was my first PROMO magazine cover, which was a bit special!"&nbsp;At Academy, she produced and executive&nbsp;produced some eminent directors - including Corin Hardy, Us, Nabil, Bison, Nadia and Martin De Thurah -&nbsp;on videos for The Prodigy, Wiley, Paolo Nutini, London Grammar and many others.<blockquote>I like breaking directors and I like working with directors that have been in the game for a minute or two.</blockquote>Meanwhile Wilens started out in videos working with The Black Crowes before exec producing one of the most controversial videos of the early Nineties: Nine Inch Nails’ Happiness Is Slavery. She went on EP the Wayne Isham-directed video for Michael Jackson’s You Are Not Alone. In the Noughties she worked with Irish director Meiert Avis on projects like Audioslave’s Like A Stone.Her roster contains a smattering of legendary video directors, including Mark Pellington and Kevin Kerslake – who recently directed a video for the current iteration of Smashing Pumpkins. But she also has lots of younger talent on her books too -&nbsp;and Wilens’ management company has always been big on animation - including Anthony Schepperd, Pix3lface, Dessie Jackson, Dusty Deen and more.“I represent 20 animators. I've got some fabulous female directors, and great young up and coming directors. So I kind of run the gamut. I like breaking directors and I like working with directors that have been in the game for a minute or two.”Kerry Smart, MD of 1stAveMachine in London spoke to Liz Kessler about creating a music video division at the company last year, who then recommended her old friend Wilens to run the US side. So a few months in, we caught up with them both on a Zoom call to find out how things were progressing… &nbsp;PROMONEWS: How would you explain your roles within 1stAveMachine &amp; IstAveMusicVideos?LK: We’re representing directors, building a new division within the company, scouting talent and exec production.And&nbsp;how are things going so far?RW: Well, I just did a video with one of their directors, an animation directing collective in Spain called BRUT, for the rock band Goo Goo Dolls, and I completely oversaw the project. I'm good friends with the band’s manager and close with their label, Warner Brothers. The Goo Goo Dolls loved BRUT’s treatment, and they just let them do their thing. There wasn't even one change.So that’s been exciting. Firstly, re-establishing a relationship with 1stAveMachine and being excited to get them work and meeting BRUT, this new company in Spain, and Martin Allais, who is their creative director.What's so exciting about these times, I think, is you can find directors all over the world. [You can] represent directors in six different countries, animators in six different countries. And that's something you didn't do ten years ago.[vidtoken data:0]Above: The Goo Goo Dolls' Run All Night, directed by BRUTWhere did your associations start with 1stAveMachine, and how did you begin working with the company?LK: I’ve known the wonderful Kerry Smart since we worked together at Academy Films. &nbsp;She and I spoke about working together on a music video department last year.&nbsp; &nbsp; RW: I go back with 1stAveMachine&nbsp;when they were just a very small company, in the early 2000s. We did a bunch of videos with Asif&nbsp;Mian, so I’ve known Serge Patzak, one of the principals of the company since that time. Back then I thought he was amazing and always loved the vibe of the company.At that point they were based in downtown Manhattan, and I felt they were very underground and forward thinking. I just remember flying into New York [from LA], and liking how they did things, and how supportive they were of their director. We did 4 or 5 videos before Asif&nbsp;decided he really wanted to go into commercials.So I have history with the company, and was thrilled that they came back to ask me to work with them – and I loved that Liz brought me in. I worked with Liz when she was at Island and I loved that experience. So it just seemed like the dynamic was so fabulous and serendipitous.[vidtoken data:1]Above: PREP's Carrie, directed by Em ColeWhat’s the potential benefit for 1stAveMachine in being involved in music videos and other music-related content?LK: It’s a great way to source new talent and to give existing talent an opportunity for development. Other arms of the industry have always looked at the creativity in the music video world so a great video can also enhance the career of a director. &nbsp;IstAveMachine has a really great approach to mentoring&nbsp;and collaboration that’s a perfect fit for music videos. They really support their directors’ creativity so this felt like a very natural move. And there’s nothing more fun than a good video experience...RW: Doing musical visual content, it just gives you different exposure. People still love looking at music videos, directors still love doing them. You still have feature guys still like doing music videos. I mean, people love music. It's so universal. So I think it's exposure and just accessibility into a market that they're just not in.[vidtoken data:2]Above: Bob Marley's No Woman, No Cry, directed by Ron BroadyWho are the names on the IstAveMachine roster, or creatives connected to IstAveMachine, that either a) have a track record in music videos, or b) you have high hopes for making an impact in this field?LK: I’ll talk UK: Anthony Dickenson is a fantastic voice in music videos. &nbsp;His recent experimental films with Friedberg are gorgeous. And of course there’s his classic work with Findlay Brown and The XX.We have two very exciting new voices - Em Cole and Ricky Rose. They are super cool, very stylish but with something behind the curtain. They’re both innovative filmmakers with something to say. Em (like Anthony) is multi-disciplined with strong fashion and does colourful sexy photography as well as moving image. Ricky has been working with Black voices in London’s dance and art world - he’s done some lovely work with the V&amp;A.We have amazing animators based around the globe. And I’d encourage anyone looking for animation to check out the guys at BRUT, who did the recent Goo Goo Dolls video,&nbsp;put together by the amazing Randi . They have a wild imagination. We love their treatments.<blockquote>IstAveMachine has a really great approach to&nbsp;mentoring&nbsp;and collaboration that’s a perfect fit for music videos.</blockquote>RW: BRUT have a really strong aesthetic that I like - and they also have a great narrative bent. They wrote a great narrative treatment [for Goo Goo Dolls], and when you can do that in animation and you want to see a video over and over again, it just speaks volumes.I also like Em Cole, and Ron Brodie – I like his work a lot. IstAveMachine has an amazing roster and they're very collaborative and they're very excited about this division. So they've given me and Liz full reign to bring in music.On some of the directors that don't really have music videos, my goal is to send music to a few directors and see if the song resonates and have them write. Its often an effective way to get directors into the fold. I also ask their directors to give me bands that they want to work with, and then I go after those artists and say, this director loves your artist. I hit up managers.[vidtoken data:3]Above: Friedberg's MIDI 8, directed by Anthony DickensonAnimation is a big thing for you [aka RW Media], isn’t it? &nbsp; RW: It has been for a long time. I'm big in the tour visual game right now. I’ve just done huge animated tour visuals for Bad Bunny, Anderson Pak, Blink 182, Odesza, Matchbox 20… It's a big business. &nbsp; How do you assess the industry – the music video industry - at the moment?&nbsp;LK: Same struggles as ever. But also the same passion and love that music videos have always inspired.&nbsp;RW: It's kind of the Wild West. I'm finding that artists make decisions. It's really an artist world. They pick the treatment. They know usually what director they want to work with. It's just that budgets are challenging. &nbsp; What’s good about being an artist’s world is that you cut out a lot of periphery. The artist reads the treatment, knows what they like, gets on the phone with director, and you're shooting it.&nbsp;When you're dealing with the likes of Jack White or Billy Corgan, there’s no downside to that. They've been in the game a long time, and they know what they like. The downside is when you're dealing with an artist that really doesn't know what they want to do, and you go back and forth and back and forth, and then the video goes away.&nbsp;But to me the one thing that's so interesting about music videos now, is it's all about the creative. Back in the day, it was all about what the director had on their reel. Now if you write a great treatment and the artist likes it and I executive produce it, I can get you that job - even if you've got nothing on your reel.Yes, Instagram is important. But if that looks good, and you write a great treatment, I can get you the job.• Contact&nbsp;Liz Kessler about 1stAveMusicVideos in London <a href="http://liz.kessler@gmail.com" target="_blank">here</a>;&nbsp;contact Randi Wilens about 1stAveMusicVideos in LA <a href="http://randirwmedia@gmail.com" target="_blank">here</a>

1stAveMusicVideos

1stavemachine

Randi Wilens

Getting animated about videos with 1stAveMusicVideos' Liz Kessler and Randi Wilens 

Goo Goo Dolls - Run All Night (Official Music Video)

Prep-'Carrie'-by-Em-Cole

Bob Marley - No Woman, No Cry (Official Video)

Friedberg - Midi 8 (Official Video)

Jonas K Lord has directed a&nbsp;sensual and beautiful video for The Highest, from Make You Know Love.Exploring&nbsp;the long distance communication between two lovers trapped in a dystopian future scenario -&nbsp;where each person lives in a pixel of one giant screen - the video portrays their shared internal reality as well as their external experience. The connection between the lovers shifts the physical world around them until they are in neighbouring boxes.Through the use of intimate closeups of the characters and a series of different flowers and plants, the idea of connection is explored in an abstract way, and it contrasts against the darker themes that lay beneath the surface.Built with a&nbsp;palette of golds and pastel colours, Lord's art direction experience is very evident in this project, and each frame is packed with striking emotional imagery - created as a result of his close collaboration with the video's art director Aeri&nbsp;Yoo.&nbsp;

United Kingdom

Jonas K Lord

Malgorzata Sarzynska

Papaya Films

Wojtek Skiba

Malte Rosenfeld

Cipriano Gertrudes

Aeri Yoo

Sky Cripps-Jackson

Pablo Rodriguez

Paul Moth

Lunapark

Shervin Shirazian

Black Canvas Records/kobalt

MYKL 'The Highest' by Jonas K Lord

Mykl-'The-Highest'-by-Jonas-K-Lord

The third video for Kwaye by Billy Boyd Cape strips things down to the man himself, doing his stuff in the less well-heeled, and out of the way spots in Los Angeles.&nbsp;The result is a vibrant&nbsp;performance piece that looks as good as its uplifting,&nbsp;thanks to the work of Boyd Cape&#39;s DoP Molly Manning Walker, and the redoubtable Toby Tomkins at CHEAT in London. &nbsp;

Billy Boyd Cape

Michelle Huynh

Academy Films

Scheme Engine

Molly Manning Walker

Titus Hajek Moore

Toby Tomkins

CHEAT

Kwaye 'Sweetest Life' by Billy Boyd Cape

The second video for Kwaye by Billy Boyd Cape&nbsp;reinforces the sense that we&#39;re looking at a very exciting new talent - both an authentic new soul&nbsp;performer and great dancer.There is not much more here than song and dance performance here - the latter choreographed by Aaron Sillis &ndash;&nbsp;in an interesting church-like location, and the director and artist - and his dancer friends - make it compelling.&nbsp;

Morgan Clement

Leah Joyce

James Dyer

Aaron Sillis

United Agency

Xander Mitchell

Sue Odell

Gaby Winwood

Ruth Hegarty

The Assembly Rooms

Daniel DeVue

Glassworks

Mind Of A Genius

Soul

Kwaye 'Little Ones' by Billy Boyd Cape

The stars align for Michael Holyk&#39;s intimate yet epic video for Callum Beattie.Shot in spectacular Glencoe in Scotland, Callum&nbsp;performs We Are Stars as he roams the spectacular landscape. It&#39;s&nbsp;unfussy, uplifting stuff, and&nbsp;looks beautiful&nbsp;courtesy of lovely cinematography by Ben Fordesman, and&nbsp;a fine grade by Mark Horrobin at Smoke &amp; Mirrors.

Michael Holyk

Steve Overs

Antonia Vickers

Ben Fordesman

Alistair Girvan

Becky Seager

Ed Cooper

Mark Horrobin

Smoke & Mirrors

Marisa Garner Associates

3 Beat Productions

Callum Beattie 'We Are Stars' by Michael Holyk

Nick Walker delves into a deeply personal part of Future&#39;s past in this quiet, thoughtful clip for Use Me.Walker gives Future time to contemplate a moment in his childhood in which he witnessed his Grandma&#39;s house get robbed at gunpoint. He sits and faces his younger self in this video and works through some of the trauma that shaped him.It&#39;s an understated&nbsp;yet powerful meditation on childhood&#39;s formative experiences - good and bad - that has a slow, cinematic pacing that&#39;s refreshing to watch.

Nick Walker

Hip Hop

Future 'Use Me' by Nick Walker

Danish band Off Bloom dance with&nbsp;the locals in Morocco for their new video&nbsp;Falcon Eye, directed by Nadia Marquard Otzen.It&#39;s like watching a western pop video transposed into a new culture, with glimpses of Moroccan streets, dance styles and people. The video proposes&nbsp;an interesting style&nbsp;fusion, not unlike&nbsp;Major Lazer&#39;s Lean On video in&nbsp;its adoption of&nbsp;local dancing. And out of what Nadia describes as&nbsp;an off-the-cuff creative process has emerged a great pop video with all the trimmings, including girl posse attitude, pop and lock&nbsp;moves and surprising little moments thrown in.

Denmark

Nadia Marquard Otzen

Fred Fantun

Polydor

Emily Tedrake

Victor Seguin

Hannah Hopkins

Karima Maruan

Rikke Selin

Patrick Lund Larsen

Art Official

Houman Abdallah

Off Bloom 'Falcon Eye' by Nadia

A minimalist performance with a fiery end is the name of the game in Michael Holyk&#39;s&nbsp;video for Sundara Karma.Set in the foreboding, wide-open, yet dramatically lit setting of an empty warehouse. We see singer Oscar Pollock sat on a chair, cabaret style&nbsp;make-up applied around his eyes. As the camera glides around him, he gives a physical performance of the track before stepping out of frame to make way for the flammable conclusion. A tremendous looking black and white clip, with slow motion flames creeping and warping around the frame delivering a striking visual conclusion.

Ben Todd

Daniel Harris

Edward Cooper

Tim Smith

Sundara Karma 'Flame' by Michael Holyk

Niall O&#39;Brien&#39;s nightmarish visuals bring a wealth of darkness to Circa Waves&#39; Wake Up.A parade of characters lurking in the shadows, surrounded by religious iconography, liquor that spills like blood and a man with a gun silently watching. The erratic visuals here feel very much like a deeply uneasy dream that jumps between various scenarios with a sinister edge that you can&#39;t quite name.All the characters are seemingly occupying different rooms in the same house, perhaps even the house of the subconscious - including the band, performing with tremendous power and menace in its basement. A&nbsp;stylishly dark piece of work with a matured sense of dread that&#39;s difficult to pin down.

Niall O’Brien

Ben Magahy

Anne Perri

Seamus O'Kane

Claire Catterson

James Hackett

Work Editorial

Jonathan Sidwell

Taff Williamson

Circa Waves 'Wake Up' by Niall O'Brien

Circa Waves - Wake Up

Danish band Off Bloom take us on a weekend away with their mates in the video directed by Nadia&nbsp;Marquard Otzen that&#39;s running&nbsp;on&nbsp;90s-DIY nostalgia.Shot&nbsp;in a house an hour away from Copenhagen, the band lets loose in a series of unusual scenarios as well as&nbsp;spontaneous, candid sequences. They are&nbsp;a fun-loving pop band with a definite grunge-rock attitude, exploring the area and setting fire to chairs, dressing up in&nbsp;old fashions, performing in living rooms, dancing on trees - and playing in tall plantations at night.It all adds up to a visual feast of lo-fi vignettes, orchestrated with delightful aplomb by Nadia.

Joacim Fougner

Thor Brammer Jacobsen

new-land

Linda Wassberg

Kristine Køster

Anders Jon Petersen

Lasse Marcussen

Polydor Records

Off Bloom 'Love To Hate' by Nadia

Jake Bugg puts himself on the line in his&nbsp;latest collaboration with Michael Holyk. But that seems wholly appropriate for Love Hope &amp; Misery, a song which displays the singer-songwriter&#39;s gift for melody with a greater core of emotion that he&#39;s previously shown. A future live anthem for sure.This is a pure performance video with a strong stylistic debt to the pre-music video&nbsp;era&nbsp;promos of the 1960s, and its beautifully&nbsp;shot by Adam Scarth, on 16mm.&nbsp;[imgtoken data:1]

Adam Scarth

Daniel de Vue

Virgin EMI

Eira Wyn Jones

East London Studios

Indie, singer-songwriter

Jake Bugg 'Love, Hope & Misery' by Michael Holyk

Of all the contagious things in the world, laughter is probably one of the better things to catch. Second would probably be an infectiously memorable song, but according to Miles Bingham that can lead to some very strange consequences.Things go from peculiar to downright zany in the blink of an eye in this Day Of The Dead by way of Tim &amp; Eric clip for Tigermonkey&#39;s&nbsp;Zooby Doo -&nbsp;a song you might have heard on a Ribena advert recently too. It&#39;s everywhere. It&#39;s going to find you, and quite possibly turn your head into a cat or a piece of toast.

Miles Bingham

Dominic Bartels

Jacob Holme

Joan Gill Amorim

Lee Watson

Jason Wallis

Mike O'Keefe

Sony Music

Dance

Tigermonkey 'Zooby Doo' by Miles Bingham

Tigermonkey - Zooby Doo (Official Video)

Nadia&#39;s video for Where The Hell Are My Friends by American trio LANY sees vocalist Paul Klein search room after room for somebody who moves within the same frequencies as himself. Told through a stylish dichotomy of red and&nbsp;blue, we see a frustrating world in which&nbsp;Klein is allowed to move only when&nbsp;the world freezes around him and vice versa.&nbsp;A deftly choreographed game of musical statues dripping with visual metaphor is well within Nadia&#39;s wheelhouse and makes for a compelling watch.

Magnus Joenck

Nicolaj Monberg

Paul Harrison

Finish

Semera Khan

LANY 'Where The Hell Are My Friends' by Nadia

It&#39;s been a few years since their last collaboration for <a href="http://www.promonews.tv/videos/2012/05/24/jake-bugg-lightning-bolt-michael-holyk" target="_blank">Lighting Bolt</a>, but&nbsp;Jake Bugg has paired up again with Michael Holyk for his&nbsp;new single&nbsp;Gimme The Love.&nbsp;And it&#39;s an aggressive&nbsp;proposition, with the singer&nbsp;in a large warehouse,&nbsp;surrounded by the menacing buzz of impending brawls about to break&nbsp;out all around him.Bugg&nbsp;stares&nbsp;down the camera,&nbsp;delivering&nbsp;his performance amid&nbsp;flaring strobes and disorientating cuts to various&nbsp;confrontational&nbsp;scenes, channelling a tone of extreme tension and incipient violence&nbsp;- which appears to be in direct contrast to the intent of the lyrics.&nbsp;The singer has commented that&nbsp;he welcomed working with fellow Nottingham native&nbsp;Holyk again, and being more involved in the creative process than on his previous videos. &quot;We came up with the treatment together, which was cool because I was so sick of turning up to video shoots with no idea with what I was doing and having people write ridiculous scripts,&quot; says Bugg. &quot;I feel videos can put an interpretation in people&rsquo;s minds of what the song is about, so with that in mind I wanted a video that left the lyrics open to interpretation.&quot;&nbsp;

James Blann

Houmam Abdallah

Electric Theatre Collective

Rock

Indie Rock

Jake Bugg 'Gimme The Love' by Michael Holyk

Thomas Knights&#39; video for Pandora Drive&#39;s&nbsp;Unoriginal Sin is the opening part of an ambitious short film/music video&nbsp;project accompanying the band&#39;s&nbsp;concept album that explores the allure of the underworld, and the darkness of&nbsp;addiction.&nbsp;Each video is a chapter in the story of Alice &ndash; played by actress and&nbsp;model Pip Phillips&nbsp;&ndash;&nbsp;a girl desperate to escape her&nbsp;&lsquo;perfect&rsquo; life for something just a bit more&nbsp;dangerous. In this stylish first&nbsp;episode she&nbsp;acquires her first taste of the&nbsp;city&#39;s strange, thrilling underbelly&nbsp;- and begins to slip into the vortex...

Thomas Knights

Marek Wesolowski

Mike Adler

Oisín O'Driscoll

The Mill

Manuel Molla

Kieron Lavine

Michelle Webb

Pandora Drive 'Unoriginal Sin' by Thomas Knights

Rosie Lowe&#39;s musings on womanhood has been given a poignant&nbsp;visual treatment by director&nbsp;Nadia Marquard Otzen.In it, Rosie is flanked by clone-like female dancers, all&nbsp;sporting blonde bobs and trenchcoats, pouting and posing in a pastel-coloured office. With a minimal,&nbsp;thought-provoking&nbsp;choreography and complimentary camera movement, the video deconstructs the self-conscious,&nbsp;poised and ultimately fake personas that women feel&nbsp;expected to assume,&nbsp;contrasted with their real selves, laid bare.&nbsp;

Rachel Owen

Poppy France

David Stevens

Alan Hopkins

Rosie Lowe 'Woman' by Nadia

Michael Holyk&#39;s video for&nbsp;Nimmo&#39;s Unyoung &ndash; his first since signing to A+ &ndash; is composed&nbsp;of&nbsp;intriguing&nbsp;vignettes of British youth in all manner of intense situations.&nbsp;Featuring&nbsp;cameos from the band, firework sparks fly in between&nbsp;flashes&nbsp;of corybantic&nbsp;dancing, kissing, and screaming at&nbsp;the sea.&nbsp;

Laura Clayton

Dance, Electronica

Nimmo 'Unyoung' by Michael Holyk

BISON&#39;s new video for Rosie Lowe&#39;s Worry Bout Us&nbsp;starts as a simple performance, then turns into something more complex - and literally twisted - as Rosie comes in contact, and then inextricably entwined with a male dancer.&nbsp;In characteristic BISON fashion, as with videos for London Grammar, Jon Hopkins and others,&nbsp;a strong visual technique is delivered in a crisp, elegant aesthetic.&nbsp;The sinuous&nbsp;&#39;slit-scan&#39; effect employed here has been around for a while, but rarely has it seemed so well-matched to the music. Nor has Rosie Lowe looked so good in a video.For the past year, BISON has been just Dave Bullivant &ndash; his former partner&nbsp;Owen Silverwood has now left the team to focus on his stills photography &ndash; and as he explains below, the technical direction of&nbsp;the video&nbsp;was wholly&nbsp;led by the lyrical content, after his discussions with Lowe.And BISON has now joined Good Egg for representation for commercials and music videos. &quot;BISON&nbsp;joining Good Egg has made our week,&quot; says Good Egg executive producer&nbsp;John Hassay. &quot;I&#39;ve followed David&#39;s work since he started out at Blinkink and have followed his career develop ever since.&nbsp;London Grammar is a creative high point in music video and we&#39;re looking forward to building on that calibre of work.&quot;&nbsp;

Dave Bullivant

Vid Price

Matthew Day

Tommy Levimorenos

Jack Meredith

Toby Goodyear

Aldo Camilleri

Pat Boguslawski

Stephanie G-M

Yusuke Morioka

Beth Buxton

Cassie Durnell

Duncan Russell

Pop, Alternative

Rosie Lowe 'Worry Bout Us' by BISON - just signed to Good Egg

Rosie Lowe -  Worry Bout Us

Nabil reunites with Foals, and tries his hand at interactivity with this visually impactful&nbsp;360-degree video for&nbsp;the band&#39;s Mountain At My Gates.It&#39;s a high-octane&nbsp;performance video&nbsp;which sees lead singer&nbsp;Yannis Philippakis multiplied as he navigates all over the screen. Storms, dogs, birds, brutalist buildings&nbsp;and jagged mountains create an epic backdrop to the starkly black and white video shot entirely on the GoPro Spherical system.&nbsp;Editor Gareth McEwen&nbsp;at Speade Editing reveals that putting the different elements of the video together&nbsp;was a very difficult but very rewarding process.&nbsp;&quot;Cutting in 360 is a brain melting but utterly absorbing experience,&quot; he says. The possibilities it provides for editors, and for filmmakers as a whole are endless, and I could bore for Britain with my &lsquo;imagine this, imagine that&rsquo; rants.&quot;Offline wise, you work with the image, &lsquo;unwrapped&rsquo; in that the point on the far left and far right of the screen are the same point, behind you.&nbsp;Thus it&rsquo;s a case of constantly bearing in mind that what&rsquo;s happening at the side of the screen is just as important as what might appear in the middle.&nbsp;None of that &lsquo;picture safe, title safe&#39; malarky here.&quot;Nabil is a&nbsp;very&nbsp;clever director and he completely nailed it on the shoot. As well shooting some cracking static performances, he had Yannis&#39; moving takes to lead the viewer&rsquo;s eye. Plus some great texture shots with the birds, dog and the extras, not to mention the effects that would come in post. There wasn&rsquo;t a pixel on screen that hadn&rsquo;t been considered.&quot;Excellent fun, and very rewarding to edit. All I need now is an Occulus Rift headset so I can truly make the most of the full visual experience.&quot; &nbsp;

Nabil

Gareth McEwen

Speade

Samuel Waters

Emma Savill

Gloria FX

Max Colt

Tomash Kuzmytskyi

Roman Billichenko

Jen Ivory

Sam Seager

Warner Music

Foals 'Mountain At My Gates' by Nabil

FOALS - Mountain At My Gates [Official Music Video] (GoPro Spherical)

To describe Niall O&#39;Brian&#39;s video for Foals&#39; What Went Down&nbsp;as intense is something of an understatement.It stages two high-octane scenes&nbsp;- the first sees a girl swimming ahead of two others, the second features a grim bare-chested man, and a fearsome dog - in which&nbsp;the tension is ratched up, slowly but surely, and pretty much unbearable&nbsp;- and offers up a hell of a final twist.&nbsp;And on top of&nbsp;that, it also features a&nbsp;performance by the band - and in particular&nbsp;by frontman Yannis Phillipakis&nbsp;- which can only be described as frenzied. Quite remarkable - and captured for posterity on beautiful 16mm film by DoP&nbsp;Lukasz Zal. Fasten your seatbelts...

Niall O'Brian

Foals 'What Went Down' by Niall O'Brian

Liz Kessler

Producer

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