Production Manager

Rupert Savage

Mollie King makes a clean break from her former life as a Saturdays girl,&nbsp;ramping up the sophistication and sexiness in the process, courtesy of Lisa Gunning&#39;s very stylish&nbsp;promo for Back To You.&nbsp;It starts with a cliffhanger - literally so - with a suspenseful romantic drama playing out in both flashback and reverse (including elements of backward lipsyncing) with Mollie engaging in nights of tempestuous passion with&nbsp;the guy for whom she has decidedly mixed feelings.&nbsp;Shot in&nbsp;Sussex - with&nbsp;the cliffhanging shots resourcefully achieved&nbsp;in Peacehaven near Brighton - it&#39;s another impressive step in Lisa Gunning&#39;s path&nbsp;from being a top film editor to being a top director.&nbsp;&nbsp;&nbsp;&nbsp;

United Kingdom

Lisa Gunning

Good Egg

John Hassay

Joshua Carter

Ole Birkeland

Lee Hatcher

Aldene Johnson

Aaron Carlo

Sharon Dowsett

The White House

Absolute Post

Ailsa Robertson

Island

Mollie King 'Back To You' by Lisa Gunning 

Mollie-King-'Back-To-You-'-by-Lisa-Gunning-

After their excellent videos for the likes of LarzRanda and <a href="http://www.promonews.tv/videos/2015/09/10/sheep-dog-wolf-breathe-thunderlips" target="_blank">Sheep, Dog &amp; Wolf</a>&nbsp;in New Zealand,&nbsp;Auckland-based directing duo&nbsp;Jordan Dodson&nbsp;and Sean Wallace - aka THUNDERLIPS &ndash; make an impressive first British video for the returning Two Door Cinema Club. It&nbsp;is&nbsp;a thing of grotesque, slightly&nbsp;bewildering beauty.In the the video for Are We Ready? (Wreck) video, the&nbsp;three members of&nbsp;TDCC&nbsp;are all noxiously cheesy spokesmen&nbsp;for a series of terrible ads for&nbsp;brands with names corresponding to the song&#39;s lyrics.&nbsp;Two of them have been luridly&nbsp;transformed,&nbsp;by Melissa Lackersteen&#39;s makeup job,&nbsp;into puffy-faced, surgery-enhanced&nbsp;versions of themselves. But there&#39;s a battle going on between this artificiality and reality underneath, expressed through lead singer Alex Trimble&#39;s angst and&nbsp;slowly disintegrating face.It&#39;s visually arresting and&nbsp;audacious, and after a couple of views (maybe trying to figure it out what&#39;s going on), another catchy TDCC song will be stuck in your brain.&nbsp;&nbsp;

THUNDERLIPS

Tibo Travers

James Blann

Chris Pollitt

Jomar O'Meally

Cat Velez

Nick Leishman

Felix Coles

Adele Can

Melissa Lackersteen

Brooke Nielson

Richard Fearon

Hannah Ruddleston

Sam Seager

Lee Watson

Two Door Cinema Club 'Are We Ready? (Wreck)' by THUNDERLIPS

Two Door Cinema Club - Are We Ready? (Wreck) [Official Video]

Having gone from talented on-screen performer to promising music video director&nbsp;with her&nbsp;last&nbsp;album, the Mercury Prize-nominated&nbsp;Hairless Toys,&nbsp;now&nbsp;Róisín Murphy takes things to the next level.&nbsp;Róisín&#39;s video for Ten Miles High, from the forthcoming LP&nbsp;Take Her Up To Monto, adopts&nbsp;a very different tack to the acclaimed videos from Hairless Toys, which were all inspired by the&nbsp;work of great directors of world cinema. This time her canvas is modern London, and operating like a guerilla-video artist, she performs the track in a variety of public spaces in central London, and the City - and mainly on the Tube.Róisín also brings her highly developed sense of style to everyday London, but most&nbsp;strikingly &ndash; and appropriately, at a time when central London mostly resembles a building site &ndash; she&#39;s&nbsp;usually wearing the ubiquitous uniform of the Crossrail construction worker, blending seamlessly in with her environment. And the strangeness of this video art experiment is enhanced by virtually every image itself being manipulated in post in some way.&nbsp;With her development as a visual as well as a music artist reaching a new phase,&nbsp;Róisín Murphy is now also joining the director&#39;s roster of London-based production company Good Egg, for representation to direct videos for other artists, and other content. Promo asked Roisin about the video, and her future ambitions as a director.[imgtoken data:1]&bull; You seem to have taken the changing face of London as inspiration for the Ten Miles High video. How would you explain the idea behind it? How does it relate to the track?&nbsp;&nbsp;This visual concept comes directly from my rather exuberant love of architecture, something I&#39;ve had a passion for since my teenage years. I live in London and most of my days are spent marvelling at the ever-changing landscape. I photograph much of what I see. I engage in discussion on a couple of architectural-social-media platforms. All this means London as a shoot-location has been well scouted by me. But it&#39;s not just about buildings, I also find the transport infrastructure fascinating &ndash; the Tube, the Overground, the DLR and their stations became part of the video-art too. The desire is to show you how I see things in the here and now and to do so joyously. As far as connection to the track, I think it&#39;s asking you to elevate yourself stratospherically whilst keeping you feet firmly on the ground.<blockquote>&quot;I live in London and most of my days are spent marvelling at the ever-changing landscape.&quot; &nbsp;</blockquote>&bull; Is this your first experience of guerrilla-style shooting? How easy was it to wander around, including being dressed like a Crossrail construction worker, and perform in public spaces? &nbsp;They know me now, the guys on the building-site around Tottenham Court Road and on several other sites in central London. I&#39;ve been hanging around dressed in high vis trying to blend in. All the while I&#39;m being surreptitiously&nbsp;filmed by a very small but quite miraculous digital camera. We are a small unit and light on our feet, we grab footage when and where we find it, without permission or permits. Although at first nobody knew what to make of this construction-woman dancing and singing at the edge of their turf, now they know me they just step out of the way and maybe throw their eyes up to heaven. The strange thing is people try not to look. I get on a bus singing and dancing and they all look away.[imgtoken data:2]&nbsp;&bull; It&rsquo;s a real departure from your videos from Hairless Toys, both in the way it was shot, and the post production effects work. Did it turn out the way you planned it beforehand?&nbsp;The videos I made last year were all trapped in a past memory - the Seventies, the Nineties. This was meant to return me to the present moment.&nbsp;I made a few trailers and teasers for my album before I cut the promo for TMH. The intention from the start was to treat the footage irreverently, so I experimented on the trailers, trying everything I could in an edit suite, cutting up the image, replicating images, creating borders, reversing and mirroring. So yes I was pretty prepared when it can to making the video.<blockquote>&quot;My love for directing is getting deep.&quot;&nbsp;</blockquote>&bull; After making four videos now of your own music you&rsquo;ve now signed as a director to Good Egg. Are you ready to start directing videos for other people, or are you more interested in other visual projects?&nbsp;No point not being open I suppose. For sure it&#39;s gonna be interesting when/if I remove myself (my persona) from my work. Who knows where this is taking me? But my love for directing is getting deep.&nbsp;

Róisín Murphy

Graciela Romero

Alessandro Farrattini

Ben Wearing

Femi Konteh

Jamie O'Donnell

Cut+Run

Rob Anderson

PIAS

Four Walls

Róisín Murphy 'Ten Miles High' by Róisín Murphy – now joins roster at Good Egg

Róisín Murphy - Ten Miles High

Alice Eve&nbsp;gets to play a very different character from the demure and efficient Carol Marcus from JJ Abrams&#39; Star Trek reboot in the video for Rixton&#39;s Hotel Ceiling directed by Clarence Fuller.This is the story of a passionate relationship, played out in flashback, between Alice and Billy Huxley. There&#39;s the full gamut of emotions as&nbsp;the passion boils then kirdles - including utter desperation, as Alice waits for news about her missing lover. And then comes a&nbsp;highly effective final&nbsp;twist in the tale...&nbsp;&nbsp;&nbsp;

Clarence Fuller

Everything Is Okay

Henry Lloyd Baker

Lana Salfiti

Jack Meredith

David Mackie

Anna Mould

Joseph Crone

Karen Alder

Martin Landgreve

Raymond Levé

Alice Eve

Laure Scott

Andrew Ibea

Interscope

Alexander Norton

Laura D'Asta

Nikolaj Belzer

Undercranked

Rixton 'Hotel Ceiling' by Clarence Fuller

Rixton-'Hotel-Ceiling'-by-Clarence-Fuller

Chris Sweeney travels to Germany for this colourful journey through a funfair at night in his promo to rising star Becky Hill&#39;s Losing.&nbsp;&nbsp;The location was carefully chosen after much research and was shot over two nights at the Nuremberg Volkfest, one of the largest funfairs in Europe.&nbsp;

Germany

Chris Sweeney

Stereo Films

Adam Scarth

Parlophone

Julia Reed

Marisa Garner Associates

James Bamford

The Mill

Kit Wells

Final Cut

Munky

Becky Hill 'Losing' by Chris Sweeney

Becky Hill - Losing (Official Video)

With a background as <a href="https://vimeo.com/callumcooper" target="_blank">a visual artist and documentarian</a>&nbsp;Callum Cooper, just signed to Good Egg in London,&nbsp;has now made his debut music video for&nbsp;Metronomy&#39;s Month Of Sundays. And the innovative camera technique, in combination with a series of geometrically interesting locations, makes this a memorable experience for the viewer.The video is a stitched collection of stunning shots that uses a&nbsp;constantly moving, arcing camera to capture the band mostly on the&nbsp;concrete spiral staricases of&nbsp;London&#39;s brutalist Sixties architecture. It leaves your head spinning.&nbsp;How did he do it?&nbsp;Callum explains more below. Although he&#39;s keeping failry schtum about his own&nbsp;camera rig invention that he used on the video...&nbsp;How did the Metronomy project come about?Callum Cooper:&nbsp;I have been working very independently for the past six years. After some success such as having short films selected to Sundance plus a couple of other projects getting Vimeo staff picks and blog attention I started getting loads of emails from agencies and labels. But I felt I was best to do my own thing. It wasn&#39;t until John Hassay (@goodegg) approached me, who is representing tellnoone (whose work I respect) that I considered representation.So we chatted and the Metronomy track came in, I pitched and we got it. I immediately got Joe&#39;s number (from the band) and we discussed the idea. I wanted to make sure that, as artists, we had a shared vision. I could talk conceptually about the ideas we wanted in the promo, but as many of your readers are fellow creators, perhaps it&#39;s more interesting if I talk about the process;As most would appreciate the turn-around for a promo is insane. When you couple that with the notion that Michel Gondry (the godfather of music videos) has done the bands last video and Megaforce (to me one of the great promo makers of today) did another... I was a little nervous. But perhaps not as nervous as the band, label and crew when they received the shot list I had formulated; 57 shots, multiple locations, 9 hours in one day (we only had Metronomy for a day during their global tour).However, I had prepared the shoot extensively. I had designed and fabricated a camera apparatus specifically for the video. I then used this tool to survey all the shots and then I cut that footage together, essentially into a version of the video without the band. So when it came to the shoot with the band I knew exactly what was needed and where it was needed. It also meant I didn&#39;t need playback...we could just move quickly and do a shot casually every 6 minutes.Consequently we actually finished 30 minutes early and with some extra shots in the bag. Everybody was happy... except John Hassay. He was panicky, as in all his years as a commissioner he had only ever seen one promo finish early.&nbsp;A few days later the edit of the promo was mostly finished. John was notably relieved when he saw the cut. The key for me was that Joe and I had a solid understanding of what the video would be and consequently very little changed from that idea to the final promo. The bit in between, with me giving casual directions and operating a strange camera contraption was an exercise in trust for everyone else.What experience do you have in making music videos?CC: For the past six years, and since graduating from RCA, I&#39;ve been creating video art, short films, documentaries and even some interactive projects. I have been lucky, as these personal projects kept me afloat both financially and creatively. Perhaps that&#39;s why I hadn&#39;t really considered turning to music videos. &nbsp;But I had a great experience on this one, and if I was to work with another likeminded artist who is on a smart creative label then I&#39;d certainly jump at the chance.How did you capture the footage in the video?CC: With a camera and that sculpture I designed. There are hints in the video about how it was shot, you can see me literally operating the device in the video.&nbsp;A visual effect is like a slight of hand magic trick, if I told you how I did it, it would most certainly ruin the illusion for you.&nbsp;

Callum Cooper

Joshua Smith

Chris Vickers

Charles Vallance

Lewis Crossfield

Matt Moult

Jack Hunter

Jane Third

Stephen Bass

Because Music

Metronomy 'Month Of Sundays' by Callum Cooper

In&nbsp;the video for My Own Blood&nbsp;Blacksmif appears in a single dark space, rotating like a specimen observed, his performance is calm, expressionless.Youness Benali provides the feelings via semi-naked dancers, encapsulating a single emotion. Everything rotates as simple lighting provides the focus.&nbsp;

Youness Benali

Darran Bragg

Charlie Moreton

Jason Wallis

Fernando Torres

Lock It In

Sweetshop

The Look

Blacksmif 'My Own Blood' by Youness Benali

Blacksmif - My Own Blood

Directing duo Tell No One - aka Luke&nbsp;White and Remi Weekes&nbsp;&ndash;&nbsp;have pioneered a&nbsp;new stage in fashion film, exploring the possibilities of interactive editorial content (as well as toying with the idea of online shopping)&nbsp;with their&nbsp;&#39;motion touch-enabled&#39; film Mine All Mine, commissioned by and exclusive on NOWNESS.The two-minute film stars five Sadler&rsquo;s Wells dancers engaging in what Tell No One have called &ldquo;a game of tag with clothes&rdquo;. At the start, the dancers are clad only in underwear, but as the routine begins and the film progresses, items of designer clothing are introduced (including pieces by Louis Vuitton, Kenzo, Rick Owens, Bottega Veneta, Haider Ackerman and La Perla), instantly shifting from body to body as the dancers connect with each other and part again.The choreography by Paolo Mangiola&nbsp;is expressive and beautiful but exuberantly unpolished, playing on notions of the online shopper&rsquo;s acquisitive desire, the elegance of the catwalk, and the down-to-earth rumpus of the playground.By clicking on the dancers, the environment, and the clothes featured in this motion-touch- enabled film, viewers are able to create a list of links without disrupting the viewing experience.&ldquo;The film has a sense of urgency &ndash; you have to act fast to click on something you like as within seconds it&rsquo;s left behind in another shot, the film moving on,&quot; say Tell No One.&nbsp;&quot;It feels like a chase...&rdquo;&nbsp;&nbsp;

Tell No One

Ben Fordesman

Ross Hallard

Sam Waters

Benedict Lack

Matt Osborne

'Mine All Mine' by Tell No One

Following his Clueless homage for <a href="http://www.promonews.tv/videos/2014/03/05/iggy-azalea-ft-charli-fancy-director-x" target="_blank">Iggy Azalea</a>,&nbsp;Director X delivers his second promo this week with this very &#39;up&#39; and&nbsp;cheerful romp for DJ Cassidy&#39;s Calling All Hearts.In a joint production between DNA in Los Angeles and Luti Media in London, the promo was shot on a minimalist and very pink set, featuring&nbsp;appearances from Robin Thicke and Jessie J - who totally get into the spirit of things...

Director X

Luti Media

Adam Smith

Missy Galanida

Luti Fagbenle

Stefano Moses

Paul Mackay

Life Garland

Dave Hussey

Company 3

Loan Nguyen

Bex C-A

Will Jasper

Miles Roberts

Columbia

Saul Levitz

DJ Cassidy ft Robin Thicke & Jessie J 'Calling All Hearts' by Director X

DJ Cassidy - Calling All Hearts ft. Robin Thicke and Jessie J (short version)

2012 X Factor&nbsp;winner James Arthur takes a winter morning stroll along the Thames, and on through a remarkably non-rainy&nbsp;London,&nbsp;in the promo for his new single Get Down - directed by Bugsy.The video is powered by some on-screen lyrical stabs, but the real visual hook come when the live action transforms to animation - an excellent enhancement&nbsp;courtesy of the&nbsp;team of nine animators from MPC who worked on the project.

Bugsy

Ayo Davis

Angelica Polonczyk

Tristan Hefele

Daniel Trapp

Charlotte Reed

Kylie Griffiths

Brendan Jenkins

Sophie Gunn

Bernat Amengual

Matt Campbell

Ed Christie

Mel Keyzor

Patrick Phoenix

James McIver

Dave Haupt

Jennifer Golden

Kristen Zaja

Sony Music

Daniel Millar

Soul

James Arthur 'Get Down' by Bugsy

James Arthur - Get Down

Robbie Williams does an Andy Williams, as&nbsp;Chris Sweeney delivers a brilliant tongue-in-cheek homage to 60s/70s American variety TV specials&nbsp;with&nbsp;his promo for Robbie&#39;s version of the Mamas &amp; The Papas&#39; classic Dream A Little Dream.&nbsp;Featuring appearances by his songwriting partner Guy Chambers and a large cast, Robbie gives yet another sterling performance, as Mr&nbsp;Sweeney piles on the Christmas cheese and thoroughly nails the vintage feel...

Rupert Savage

Production Manager

Videos featuring Rupert Savage

2016 (3)

2015 (1)

2014 (6)

2013 (1)

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