Andre Reid-McKinley

Production Company

Somesuch

Dua Lipa coolly assesses a small army of suitors in Vincent Haycock's dizzying blockbuster for Training Season.&nbsp;The video sees the artist sitting in a café, attracting the avid attention of numerous males, who pile up against the window outside to get a glimpse of her, and occupy every other table.&nbsp;As their stares linger, the whole environment starts to shift, until the men get caught in a whirlwind orbit - much to Dua's amusement.&nbsp;It's the kind of big-budget spectacle we've come to expect from Dua Lipa, with cinematography by Rina Yang, seamless visual effects, a cast of dozens, choreography by Charm La'Donna (for Dua) and Ryan Heffington (for the cast)&nbsp;- and an utterly compelling performance at its core.[imgtoken data:1][imgtoken data:2]&nbsp;

United Kingdom

Vincent Haycock

Rina Yang

Whitney Jackson

Tash Tan

Alli Maxwell

Georgina Fillmore

Alexa Haywood at Free Agent UK

Theresa Adebiyi

Charm La'Donna

Meredith Kurey

Emily Shulmanovich

Kenny Taylor

Christian Stone

Natasha Newman-Thomas

Lorenzo Possoco

Peter Lux

Sam Visser

Ryan Heffington

Dante Pasquinelli

Dua Lipa 'Training Season' by Vincent Haycock 

Dua Lipa - Training Season (Official Music Video)

In 2015 Will Robson-Scott and Ollie Grove released a book titled In Dogs We Trust, a series of portraits of dogs and their owners, shot on both sides of the Atlantic, from Crufts to Compton.Eight years on and Robson-Scott and Grove have revived the project, heading off in Leyton, East London to snap singer-songwriter Humane The Moon with his new pup Mabel. The resulting photos, and selections from the book, now comprise Robson-Scott's video for the artist's I Saw A Dog.The video is entirely comprised of stills and that works really well - thanks to the sterling work of editor Lydia Bowden and animator Jack Sheldrake, as well as the quality of Robson-Scott's and Grove's photography.&nbsp;[imgtoken data:1]&nbsp;&nbsp;&nbsp;

Jack Sheldrake

Will Robson-Scott

Gloria Bowman

James Hackett

Lydia Bowden

CHEAT

Two First Names Recordings

Ollie Grove

Alternative

Indie

Humane The Moon 'I Saw A Dog' by Will Robson-Scott

Humane The Moon - I Saw A Dog (Official Video)

Will Robson-Scott's latest collaboration with East London singer-songwriter Hak Baker&nbsp;is a&nbsp;raw, stirring promo for Brotherhood, from Baker's debut album World's End FM.&nbsp;The video merges the passions of the artist and his brother - performing and boxing, respectively - into a gripping meditation on life, relationships and the future.&nbsp;Interspersed with lo-fi cutaways and rich conceptual imagery, it's a thought-provoking and captivating visual befitting of the track.&nbsp;It's the latest of several hard-hitting videos by&nbsp;director and photographer Will Robson-Scott for Hak Baker over the past few years, including Dopehead and the marvellous Cool Kids.[imgtoken data:1]

Hugo Harris

Dominic Strachan

Naomi Barling

United Talent

Alex Ayodele-Otele

Kian Alttman

Adam Singodia

Saskia Whinney

George Belfield

Marcus Albertsen

Oliver Pearson

Laura Aguilera

Chloe Rose

Thomas Goldser

Avenues

Jack McGinity

Hak Baker 'Brotherhood' by Will Robson-Scott

Hak Baker - Brotherhood (Official Video)

NYC-based directing duo&nbsp;King She&nbsp;have been making jaws drop since the release of <a href="https://vimeo.com/752696728" target="_blank">Rare: The Boy Who Cried Swag</a>&nbsp;last year. They have now applied their distinctive, mosaic-like&nbsp;style to&nbsp;Cuban-American artist Cassie Marin's track Tanto, transforming the reality of living with a medical condition into a pop culture moment.&nbsp;Marin has an autoimmune disorder, which exhibits on her skin - and that becomes the jumping off point for the video, which starts with a camera seemingly speeding through her blood stream, to a moment of drama when a text message arrives on her phone, from a medical facility:&nbsp;"Your bloodwork is back... You're sick."So begins 'the biopunk&nbsp;journey of a girl who purges heavy metals from her skin', as Marin's body becomes the vehicle for stylish VFX augmentation, in a blizzard of ideas and images. Fashion shoot sensibility, high end FX, and lo-fi emoji humour make this one of the visually imaginative and groundbreaking pop videos of the year. Jawdropping, in fact.[imgtoken data:1][imgtoken data:2][imgtoken data:3]

United States

King She

Andrey Nikolaev

Robert Lopuski

Dusten Zimmerman

Daniel DeVue

MYGOSH Gmbh

Cassie Marin 'Tanto' by King She

Cassie Marin - Tanto (Official Music Video)

Femi Ladi creates an intriguing crime drama&nbsp;for Jorja Smith's Feelings, featuring J Hus - in which Jorja and co-star Jasmin Jobson play multiple characters.Ladi's video mirrors the story of&nbsp;Bonnie &amp; Clyde, with a big twist. Jorja and Top Boy actress Jobson play a series of characters on each side&nbsp;of the thrilling heist drama. It keeps the viewer intrigued right to the end.The video arrives hot off the heels of the release of&nbsp;Jorja’s acclaimed second album,&nbsp;falling or flying.

Anti Design

Kharmel Cochrane

Lola Cookman

Alex Carswell

Rhona Ezuma

Marika-ella Ames

Femi Ladi

Craig Dixon

Erin Corrian-Alexis

Harlon Haveland

Kai Blamey Nguyen

Phillips Nortey

Jamie Monks

Jonny Lewis

Chloe Harwood

Danielle Igor

Grace Sinnott

Hasani Franke

Work Editorial

Jason Wallis

Electric Theatre Collective

Jakob Thorhallsson

Jasmine Jobson

Cinelab Film and Digital

Jorja Smith 'Feelings' by Femi Ladi

Jorja Smith - Feelings (feat. J Hus)

Peggy Gou's summer anthem gets an appropriately sun-kissed visual courtesy of Somesuch director Thomas Hardiman, filmed on location in Ibiza.A playful mix of performance, choreography, gorgeous vistas of one of the loveliest places anywhere, in the video for (It Goes Like) Nanana Hardiman allows Peggy to find her groove, at the centre of the glamourous party, but not always the centre of attention.Shot by Nikita Kuzmenko, edited by Thomas Grove Carter and graded by Myles Bevan, it's a very&nbsp;sophisticated and aspirational addition to the classic Ibiza-set video.[imgtoken data:1]&nbsp;

Thomas Hardiman

Peggy Gou

Alex Chamberlain

Diego Contreras

Michelle Cheung

Scott Wright

XL Recordings

Blake John Wood

Lorena Anabel Maza

Shon Ju

Patrick Galtthaar

Nikita Kuzmenko

Archil Siradze

Ali Copland

Eva Hrabovska

Grace Snellock

Thomas Grove Carter

Trim Editing

Myles Bevan

Studio RM

Dance

Peggy Gou '(It Goes Like) Nanana' by Thomas Hardiman

Peggy Gou - (It Goes Like) Nanana - Official Video

In this eerie, sensory video for Junodream, director Ned Botwood imagines ‘a day at the beach’ with the lights turned out.The video for The Beach is a languid montage of lunar beach scenes. Sand, swimmers, sunbathers, dogs and dust are all incongruously reframed at nighttime. Anonymous characters stare at the horizon, waiting for the wind to change.&nbsp;Making stark use of negative space and roaming spotlights, cameraman Joseph Dunn shoots the beach like a dreamy moonscape. This is emphasised by a silvery colour grade by Ruth Wardell at Time Based Arts. Echoes&nbsp;of Radiohead's Street Spirit, in fact, and the song happens to be a&nbsp;catchy indie rock anthem in the mould of that 90s classic.[imgtoken data:1][imgtoken data:2]“I try not to stay at the beach after the sun’s gone down - It’s too eerie for me," admits Botwood. "Once the tourists go home, it’s just flat land, heat, bugs, wind and darkness. There’s so little visual context, you might as well be on the moon. We wanted to imagine what a beach looks like to someone who can only remember little dark parts of it.“I really really have to thank Joseph Dunn and his camera team, Kevin Corry and The Assembly Rooms, and Ruth Wardell and Time Based Arts, who were all so generous lending their skill to such a tiny project!”

Ned Botwood

Joseph Dunn

Kevin Corry

The Assembly Rooms

Ruth Wardell

Time Based Arts

Ben Carey

Harry Tomlin

Tom Clapson

Paul Brennan

Ivan Wood

Kitty Sutton

Phoebe Armstrong-Beaver

Dan Kreeger

Rock

Indie Rock

Space Rock

Junodream 'The Beach' by Ned Botwood

Junodream "The Beach"

Mollie Mills directs a deliciously sensual promo for Romy, filmed in Spain.&nbsp;The video for The Sea presents an evocative montage of intimate moments, set against a backdrop of the humid Spanish&nbsp;coast.&nbsp;With a nostalgic, almost poignant vibe and a subtle flair of AI experimentation, it's a video that perfectly suits the mood of the track, and feels almost like&nbsp;watching a stranger's dream - in the best way possible.

Mollie Mills

Elliot Zelmanovits

Smile

Gemma Sellares

MatÍas Penachino

Laia Navarro

Jack Williams

Raul Mulas

Alberto Ojeda

David Felices

Júlia Bas Anglès

Matt King

Andrea Trenado

Natalia Montoya

Guillem Jimenez

Romy 'The Sea' by Mollie Mills

Romy - The Sea (Official Video)

<h3>After a run of critically acclaimed projects, Femi Ladi (above right) has teamed with Stormzy (left)&nbsp;to&nbsp;make&nbsp;his most ambitious video yet. We talked to him about mastering motion control&nbsp;and talk-therapy with the UK's biggest grime stars.</h3>In a relatively short period,&nbsp;Femi 'Ladi' Oladigbolu&nbsp;has shown he's destined for big things. Videos for Pa Salieu and Chase &amp; Status, content for Adidas and others, and BFI-screened short film Oba, have all demonstrated Ladi's ability to get up close and personal with his subjects, using all tools at his disposal to grab the viewer's attention.Now one of those big things has happened - a video for the UK's biggest grime star Stormzy, featuring fellow grime icon Fredo, which gives full rein to the British-Nigerian director's ability to connect viewer and artist in a meaningful way. And for Toxic Trait, Ladi effectively combines two different filmmaking styles, using the magnetism of the artists as the glue to bring them together.&nbsp;&nbsp;[vidtoken data:0]<blockquote>I was invited into the Def Jam UK offices without knowing what artist the briefing was for.</blockquote>For one half of Toxic Trait, Ladi creates a world for Stormzy that is rooted in classic art - and employs motion control to have muliple versions of the superstar exist in one space, acting out lyrics from the track. It's a development&nbsp;of Ladi's breakthrough video for Pa Salieu ft Backroad Gee's My Family, which used the impact of a programmed motion control rig to capture a performance, but this time with added VFX complexity.Then Ladi switches things up to someting akin to straight drama - like a therapy scene in The Sopranos - with Fredo confessing his bad habits to a therapist played by TV host Alison Hammond, intercut with a shared performance by the stars, and then a group therapy session with a number of other grime artists.In the use of different styles, Ladi&nbsp;enriches the viewer's perception of these huge stars without compromise - a notable achievement. So we asked him how he it all happened.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;PROMONEWS: What was the starting point for the Toxic Trait&nbsp;video? What kind of brief did you have?FEMI LADI: It was all quite secretive and exciting, to be honest. I was invited into the Def Jam UK offices without knowing what artist the briefing was for. Once we were in the label they told me it was for Stomzy and then I heard the song a couple of times in the office.When I mean I heard the song, it was just a snippet - mainly the Stormzy verse, as the guest feature hadn't been decided yet. Then I had the link&nbsp;to listen to it, which expired after a certain amount of hours. Fortunately, the idea came to me pretty quickly so I just developed it from there.[imgtoken data:1]&nbsp;<blockquote>Stormzy and Fredo found creative ways to show their toxic traits whilst still flossing.</blockquote>The theme of Toxic Traits is reflecting upon one's failings, being self-critical. Is that a tricky subject to address in a music video? Or offered more opportunities?&nbsp;I think it offered more opportunities. The thing I enjoy about rap music in general is the braggadocious nature of the lyrics and both Stormzy and Fredo found creative ways to show their toxic traits whilst still flossing. This allowed us to exaggerate some of the scenes and be playful whilst&nbsp;still trying to say something real.&nbsp;The original music video for My Family you directed has the same dynamic camera move created by the G6 Moco. Have you been looking for a new opportunity to explore its potential?Yeah for sure. [I've been] working really closely with the G6 Moco team. They often provide great solutions to my creative ambitions.For this, we didn't necessarily use the concept of motion control in a new way, but we used one of the largest arms in the country. This allowed us to capture all our scenes without cutting, while also being fast enough to move around keeping up with the pace of the track.&nbsp;[imgtoken data:2]<blockquote>We were still swapping things around and creating new scenes as we were programming&nbsp;the move.</blockquote>How did you go about the process of planning and constructing your motion control move?In terms of planning the motion control move it was a bit of a maze. We had to figure out all the moves but also have in mind how this looks in the final image when we zoom out, and if we can capture the Renaissance-inspired painting at the end of the video.Myself, my producer Tom Gardner and my DOP Ruben Woodin Dechamps travelled up to Manchester to the G6 offices, and started working out the moves on the software that G6 had built. Here we decided on lenses, aspect ratios, and how the camera will move on the robot.It was quite touch and go as some scenes weren't approved yet. So we were still be swapping things around and creating new scenes as we were programming it.In terms of&nbsp;getting it approved, did Stormzy need convincing that he needed a wardrobe change for nearly every line of the song?&nbsp;Haha, nah. Changing for each line wasn't a problem at all. He has a great stylist in Melissa [Holdbrooke-Akpose] and all the changes looked cold, so I think he probably enjoyed it.[imgtoken data:3]&nbsp;Above: On the set of Toxic Trait video with camera on motion control arm shooting Stormzy's archer sequence<blockquote>Using one of the largest motion control arms allowed us to capture all our scenes without cutting.</blockquote>There’s a reference to the Muhammed Ali cover for Esquire Magazine in 1967 - which itself references a Renaissance painting of Saint Sebastian. Are there other references included in the video?Correct! Yeah, originally there were a lot more 'traditional'&nbsp;art references. But as mentioned the scenes were changing all the time, so not all of them made it. The only other one that did make it was in reference to Kehinde Wiley's Ship of Fool, which is on display at the Queens House of Greenwich.&nbsp;It feels seamless, and less complicated than it probably was to shoot. Was there anything really tricky that you needed to fix in post?Yeah, it was quite tricky to shoot. But I had a great collaborator in Coffee &amp; TV. They did a lot of cleaning up and added extra bits like the dark sky. Also the end image putting together all the scenes we had to move just a few scenes around.The fix that really helped was making the monkey grind, as she struggled to do the action on the day, haha - not entirely sure how but they made it work. There were a fair amount of post&nbsp;overall within a tight turnaround and I'm really grateful to the VFX team on that.&nbsp;[imgtoken data:4]<blockquote>We built in the therapy scene to inject a bit of humour... Alison [Hammond] really took on her role well.</blockquote>The break of the therapy session adds another dimension - Fredo comes across well, and Alison Hammond is a great piece of casting. How did this get to be included in the video? Who wrote the dialogue for that section?I thought that maybe keeping Renaissance creative throughout might be a bit much and thought it would be nice to have a bit of respite. So we built in this therapy scene to inject a bit of humour. I liked the idea of Fredo rapping these outrageous lyrics to a therapist and sharing it with other rappers confessing their toxic traits.&nbsp;I would absolutely love to take credit for that line about the toenail clippers, but Fredo just made that up on the spot, with a completely straight face. They were both excellent. Alison really took on her role&nbsp;well and gave us the best facial expressions. The outtakes of that scene were hilarious.[imgtoken data:5]How did the other stars - Ivorian Doll, Wretch 32 and Specs Gonzalez -&nbsp;get involved?&nbsp;I pitched that we cut into a group therapy scene with other rappers and Stormzy's team made it happen. We all saw his incredible pull from his Mel Made Me Do It video. I actually didn't know exactly who was coming until the last minute, but I was very happy with what we got.Alison conducted a real session and asked everyone to express what their toxic traits were - which was funny but also very real. These were the final shots of the day, so it was nice to finish on a high.&nbsp;• Femi Ladi is based&nbsp;at <a href="https://somesuch.co/" target="_blank">Somesuch</a> for music videos and commercials.

Femi Ladi on Stormzy's Toxic Trait video: 'We could be playful while still saying something real.'

STORMZY - TOXIC TRAIT ft. FREDO

When Stormzy does videos, he does them big, and the video&nbsp;for Toxic Trait, directed by Femi Ladi,&nbsp;is no different, boasting a&nbsp;tour de force&nbsp;of set builds, visual effects and cameos - delivered with a mesmerizing motion controlled camera&nbsp;move.What's more, there's a dramatised therapy session featuring guest artist Fredo - with his therapist played by TV royalty Alison Hammond.The video fictionally contextualises a plethora of 'toxic' situations that Stormzy refers to in the track, honing in on gambling, violence and the glorification of luxury lifestyles. And as the camera shifts between multiple versions of the grime superstar, Ladi introduces&nbsp;significant, historical cultural moments from over the years, including the iconic&nbsp;1968 Esquire Magazine cover of Muhammed Ali and Kehinde Wiley’s prominent painting, A Ship Of Fools.[imgtoken data:1]When the action breaks for the therapy scene with Fredo and Hammond, it's a welcome development of the theme that also adds a touch of humour. Then it concludes with a group-therapy session which features further cameos from a range of British figureheads including Ivorian Doll, Wretch 32 and Specs Gonzalez.Filmed in London earlier this year, the&nbsp;majority of the visual was shot on a high-speed, cinema robot camera, capable of horizontal&nbsp;and vertical movement speeds of up to 2 metres per second.[imgtoken data:2]“After listening to the lyrics, I wanted to have fun with this video," Femi Ladi has stated.&nbsp;"I liked the idea of bringing a Renaissance-style painting to life, whilst still feeling grounded in the world of Stormzy."We collaborated on all the scenarios together which was great - as well as being able to bring in the likes of Fredo and Alison Hammond for their own toxic therapy sessions!"​

Nicola Sheppard

Chris Watling

Tom Gardner

Ruben Woodin Deschamps

Tuncer Ozdemir

Chris Kelly

Hatty Ellis-Coward

Leo Olesker

Melissa Holdbrook-Akposo

Cabin Edit

Amber Saunders

Coffee & TV

Max Harrison

G6 Moco

Studio Augmenta

Lewis Crossfield

Luke Todd

Grime

Stormzy ft Fredo 'Toxic Trait' by Femi Ladi 

Renee Maria Osubu tells the story of a grieving family, within the wider context of the Black British experience, in Dirt In The Diamond, a short film that incorporates three songs from Jords album, with the same name, performed by the artist.In the first part, we are introduced to the main characters at a family gathering at the home of the Walkers, prior to the funeral of their son, where Jords performs MoBay with Tay Iwar. It's&nbsp;shot by cinematographer Courtney J. Bennett in rich colour, with an intimacy that recalls Steve McQueen's 'house party' film Lovers Rock.That is followed by the funeral of the son - the procession behind the coffin and church service -&nbsp;shot in stark black and white, in which we hear iPray by Jords, Wretch 32 and Miles from Kinshasa. Finally, the drama is replaced by a montage of&nbsp;archive footage of Black Londoners from the 1970s to the present day - including footage of era-defining protests against racism and prejudice -&nbsp;&nbsp;as Jords performs Fist In The Sky.&nbsp;Renee Maria Osubu&nbsp;brings the personal and the political together, and interrogates the nature of grief - which one character describes as "the truest form of love" - in compelling fashion.[imgtoken data:1]&nbsp;&nbsp;[imgtoken data:2]&nbsp;&nbsp;&nbsp;

Somesuch

Production Company

Featured Work