Editing company

Work Editorial

Work Editorial have announced the addition of editor Matthew Prickett (above) to its team of editing talent, based in the company's London office.With a wide and varied portfolio, Prickett has cut commercials for clients including The Guardian, Audible, Reebok and Xbox, with directors including The Sacred Egg and Mark Denton. He has also edited&nbsp;music videos for acts such as Sam Fender, Swim Deep and Brooke Combe, with directors including James Slater and Georgina Cammalleri.With over a decade of experience in editing commercials and music videos, his career began in 2010 at the Miami branch of ad agency Crispin Porter + Bogusky, where he spent five years developing his craft, before making the switch to their London office and then onto Cut+Run in Soho.&nbsp;And he has already&nbsp;got off to a strong start in his new role at Work, having already edited music videos for The Amazons’ Bloodrush, and Yard Act's 100% Endurance - both directed by Slater. He has also edited a commercial&nbsp;for Simply Business, directed by Jonnie Malachi through Kode Media.&nbsp;“I feel hugely lucky and grateful to be joining Work," says Prickett, who is based in London, but also available across&nbsp;Work’s LA and NYC locations. "Some of my favourite ads - such as Canal Plus' The Bear, Red Cross'&nbsp;Hopeless, and Apple's&nbsp;The Underdogs -&nbsp;were cut by Work editors. Everyone there is extremely talented and kind, and it’s a place where I hope to grow.”&nbsp;He describes his own technique as “thorough”, with a good selecting process being central to producing a strong edit.&nbsp;“I learnt my selecting process whilst assisting and watching great editors be rigorously detailed," he says. "I’ve tried to work in a similar way ever since.”Ellie McNaughtan, EP at Work London, says: “Matthew is a confident, creative editor with excellent technical knowledge and a fantastic portfolio of work.&nbsp;He is also a really lovely person to spend time with! We know he’s going to do great things and we’re delighted to have him on the roster.”Photo credit: Jonny Malachi• Watch Matthew Prickett's showreel at Work Editorial <a href="https://www.workeditorial.tv/editors/matthew-prickett/" target="_blank">here</a>

Matthew Prickett

Work Editorial signs Matthew Prickett

Margot Bowman reunites with Charlotte Dos Santos to direct&nbsp;a tender performance promo for Hello Hello.&nbsp;Boasting soft pastel studio setups and a gentle, hazy aesthetic, the video sees the artist get intimate with a male character, interspersed with moments of them both on the phone to each other, fantasising about their connection.Bowman works with DoP&nbsp;Natalie Pitters to create a sensual, nostalgic style through the use of fluid textures and romantic lighting, elevating the conceptual nature of the piece.&nbsp;

Lottie Lindsay-Beavan

Theo TJ Lowe

Harry Alexander

Lola Cookman

Oliver Whitworth

Leah Abbott

Margot Bowman

Chris Murdoch

Prettybird

Ed Pearson

Esteban Gimpletewicz

Nathalie Pitters

Juliette Larthe

Alasdair Copland

Jerry Pradon

Josh Ighodaro

Karla Q Leon

Lynski

Hasani Franke

Jason Wallis

Electric Theatre Collective

Because Music Uk

Charlotte Dos Santos 'Hello Hello' by Margot Bowman

Charlotte-Dos-Santos-'Hello-Hello'-by-Margot-Bowman

James Slater completes his excellent series of videos for Leeds band Yard Act's first album The Overload with a superb valedictory&nbsp;effort for the album's final&nbsp;track&nbsp;100% Endurance - starring iconic actor David Thewlis.Thewlis wakes up on a street bench, finding himself on a suburban housing estate, surrounded by its residents. They are familiar faces to anyone who has watched the previous Yard Act videos,&nbsp;as most have appeared in one or more, playing the characters that populate the 'Yard Act universe' - created by the band's frontman,&nbsp;James Smith.&nbsp;Smith has played some characters himself in the preceding videos - a dodgy magician (in <a href="https://www.promonews.tv/videos/2021/11/25/yard-act-land-blind-james-slater/73960" target="_blank">Land Of The Blind</a>), a slippery estate agent (in <a href="https://www.promonews.tv/videos/2021/12/15/yard-act-payday-james-slater/74305" target="_blank">Payday</a>), and obnoxious club owner Graham (in <a href="https://www.promonews.tv/videos/2021/09/14/yard-act-overload-james-slater/72771" target="_blank">The Overload</a>). But in 100% Endurance, Thewlis plays Smith, more or less. Appropriately he takes over lipsync duties for the album's least abrasive, most philosophical song, as a world-weary but wise figure wondering among his fellow housing estate inhabitants.[imgtoken data:1]James Slater then delivers an additional delicious curveball. Suddenly, a giant hand drops down into the scene&nbsp;- David&nbsp;Thewlis's. It picks up what turns out to be a tiny figurine of himself (or is it Smith?), from a miniature model version of the housing estate. It's a sudden, comic twist that resonates with the overriding theme&nbsp;of the song: 'what's&nbsp;it all about, anyway?...'<blockquote>[Thewlis] really bought into it all and delivered a brilliant performance, tying the whole thing together.</blockquote>"Prior to shooting 100% Endurance, I'd already been lucky enough to shoot four&nbsp;videos from&nbsp;The Overload," confirms Slater.&nbsp;"It's given us the opportunity to create our own Yard Act cinematic universe, with characters and themes recurring across all the films. With this video we wanted to wrap everything up.&nbsp;"I thought we should have a go at answering (that question)&nbsp;by revealing that&nbsp;the universe (well, the Yard Act universe at least) is in fact a miniature model set, kept atop Thewlis'&nbsp;spare room.[imgtoken data:2]&nbsp;"James and David had been chatting for a while, as it turned out he was a big fan of the band. He let us know he'd be up for doing a video and thankfully liked the idea. We shot it in his native Blackpool. He really bought into it all and delivered a brilliant performance, tying the whole thing together. I think he'll go far!"<blockquote>It's testament to James Slater and his vision for bringing our songs to life every time.</blockquote>James Smith adds that&nbsp;his experience of making this video was a combination of enjoyment and disbelief. “It was great shooting this video," he says. "I barely had to do anything, and I didn’t have fake facial hair glued to [my] head for once."I still can’t believe David got involved. I was such a fan of his work from Naked through to Fargo, and when I told James Slater he was interested in working with us, he was so buzzing. A brilliant actor, and an absolute joy to watch work. Equally so, he is a thoroughly decent, down-to-earth person who is funny as fuck, and that goes a fair way I reckon."[imgtoken data:3]Smith&nbsp;also pays tribute to Slater's work across five videos for The Overload. “This video also stands as testament, once more, to James Slater and his vision for bringing our songs to life every time," he says. "I always knew we would revisit the world one last time to bring the whole concept of the album full circle, and I knew the final video would be for 100% Endurance. But once the album came out and touring kicked in, I never knew when we would find the time. Finally we did, and getting all the cast of characters back together felt lovely too."We’ve met so many ace people making these videos and the more you meet them, the easier it is. Bless everyone who was on board throughout. If no one figures it out in the next five years, I’ll do a thorough breakdown of all the videos with every reference, easter egg and narrative hint we&nbsp;stuck in there.”

United Kingdom

Ruta Staseviciute

Jack Hartley

Jade Denne

Joanne Johnson

James Slater

Rosie Ford

Zomdic Films

Sam Flynn

Chris Sargent

Aaron Dunleavy

Ben Eve

Mihai Virlan

Sam James

Brody Salmon

Lucy Gregory

Bethani Gowland

Emma Tierney

Leanne Bartlett

Louise Hood

Andi Chu

Black Kite Studios

David Thewlis

Island Records

Alexa Haywood at Free Agent UK

Rock

Post-Punk

Alternative

Yard Act '100% Endurance' by James Slater

Yard-Act-'100%-Endurance'-by-James-Slater

The Amazons return to action with the anthemic Bloodrush, and a&nbsp;fun, carnival sideshow-themed video by James Slater that gets the blood, and adrenalin&nbsp;pumping.&nbsp;The band wander into this atmospheric setting, absorbed by the performers, including trapeze artists, a BMX rider, fire-juggler -&nbsp;and a knife-throwing act. It's the latter that provides the real thrills as the Zons' lead singer Matt Thomson finds himself in the firing line of the blindfolded knife thrower.[imgtoken data:1]&nbsp;&nbsp;Slater and his production team found authentic talent&nbsp;for their carnival characters - including knife thrower Simon Ratzka, and his assistant&nbsp;Tor Callis - for the video shot at an abandoned amusement park in Lancashire.All appropriate precautions were taken, of course, when it came to&nbsp;the knives being thrown.&nbsp;No lead singers were harmed in the making of this video...

George Haydock

Josh Lenaghan

Laurie Nutall

Lee Symington

David Knight

Fiction Records

The Amazons 'Bloodrush' by James Slater

The Amazons - Bloodrush

Harry Law pays homage to classic performance videos in his promo for 5 Seconds Of Summer.&nbsp;Drawing inspiration from pop rock videos of the 90’s and&nbsp;early 00’s&nbsp;- from artists such as Oasis, Red Hot Chilli Peppers and The All-American Rejects -&nbsp;the video for Me, Myself &amp; I takes place in a dimly lit warehouse, with a motion control camera seamlessly cutting around the different personalities of each band member.&nbsp;The video forms a part of the Australian pop outfit's new vision, which is being conceptualised with a number of other creatives across the board, including creative director Tyler Serebreni.[imgtoken data:1]“Me Myself &amp; I&nbsp;has such an iconic energy to it, getting to capture that feeling visually while the band was on a global world tour was so incredible, it gave us so much to play with," says&nbsp;Serebreni.&nbsp;"We wanted to put a twist on a performance video, focusing on technology while keeping the aesthetic and inspiration of so many iconic early 2000s performance videos, but still grounded and in line with our album campaign."Harry [Law] helped us bring this vision to life perfectly, complex in its simplicity, highlighting the individuality and style of the guys."

Australia

Ash K Halliburton

Tyler Johnston

Harry Law

Andrew Rawson

Fred Bonham Carter

Other Half

Just Fred

Murren Tullett

Dustin Grant

Alexa Haywood

Cara Scott

Zoe Gunn

Chris Malin

Matt Allsop

Morgan Hall

Joey Choy

Jamie Hodgson

Joseph Bicknell

Company 3

Nomad

Tyler Serebreni

5 Seconds Of Summer 'Me Myself & I' by Harry Law

5-Seconds-Of-Summer-'Me-Myself-&-I-'-by-Harry-Law

Heralding the release of his acclaimed new album, Jason Spaceman co-directs the live video for a new Spiritualized epic&nbsp;with Juliette Larthe.This is an intimate performance of the ten minute track I'm Coming Home Again, given a vintage feel and visceral edge by the expert use of just two camera set-ups, fused together in a complementary black and white grade.[imgtoken data:1]The use of a gritty&nbsp;film in capturing Spaceman's backing band give the impression of footage that may have sat around for a while - even years. But when the main&nbsp;man appears in the cleaner format, the trick is revealed and the 'liveness' of the occasion becomes unmistakeable.So sit back and enjoy your own personal Spiritualized show, courtesy of Jason and Juliette.

Jason Spaceman

Rain Keene

Isabel Garrett

Fat Possum

Bella Union

Ben Rivers

Henry Lockyer

Kairo Jones

Spiritualized 'I'm Coming Home Again' (Live) by Jason Spaceman, Juliette Larthe

Spiritualized-'I'm-Coming-Home-Again-(live)'-by-Jason-Spaceman,-Juliette-Larthe

In our new series talking to up-and-coming talent in the world of music videos, we chat to the editor Jamie Hodgson, who has been making a serious impact over the past eighteen months with his work on a number of acclaimed projects.Jamie began his career in 2014 as an assistant editor at Work. Having travelled&nbsp;widely and bolstered by his background in tech and computing, Jamie quickly became&nbsp;senior cutting assistant in the London-based&nbsp;editing company, completing campaigns alongside Work’s roster of editors.He was promoted to full editor in 2020, and since then&nbsp;Jamie has worked on music videos and other projects&nbsp;for Mansur Brown, George Ezra, Arlo Parks, Pa Salieu, Celeste and Metronomy - alongside directors such as Jess Journo, Filmawi, Milo Blake and Raja Virdi.He says that his customary approach on these projects has been to put the music itself ahead of everything else.&nbsp;"The first thing is really listening carefully to the track and make something that fits the contours of the track," he says. "They say that musicians make good music editors, and it's true that a lot of the job is quite rhythmic, seeing what works well with the picture. In my opinion, you can't stray too far from that rule."&nbsp;And here, in Jamie's own words, are the favourite&nbsp;projects he has worked on... so far.&nbsp;&nbsp;&nbsp;[vidtoken data:0]YouTube Legacy Series: Pa Salieu x Tokyo James (dir: Filmawi) (2020)"My first opportunity to edit my own stuff beyond assisting were on performance videos for relatively unknown bands. I enjoy the restrictions sometimes of doing a performance video, building something that works well with the track."Then I did a YouTube documentary about 18 months ago that was about Black fashion designers and artists, where the artists performed as part of the doc, but they were made very much like promos - directed by Filmawi. The one that got most traction was with Pa Salieu -&nbsp;performing Over There [with designer Tokyo James] - shot on a rooftop."That project was great because it was working with artists that you might have heard of, and for music you liked."[vidtoken data:1]Metronomy – Things Will Be Fine (dir: Juliet Casella and Thibaud Caesar) (2021)"Joseph J Goldman was the producer on the YouTube Legacy Series&nbsp;and then Filmawi's Mansur Brown video, and got in touch about the Metronomy video. We had a Zoom call with the directors Juliet and Thibaud - who are based in France -at the start."Their idea of having&nbsp;Metronomy play the teenage versions of themselves really fed into nostalgia for me. Probably when I first came across them it probably would've been on MySpace - which of course features in the video. And I saw them loads of times around London&nbsp;when I moved back after university, around the time of the second album.<blockquote>There’s a sense of joy that carries&nbsp;through the Metronomy videos.</blockquote>"Juliet and Thibaud's backgrounds are as artists. And their idea for the video was closely storyboarded. To have this&nbsp;storyboard, was great - it doesn't happen that often in music videos - and the first assembly was really the storyboard cut. From that point I&nbsp;think we realised that it needed to intercut some more and to be more dynamic. Because it's a music video people tend to want to make things more high-tempo, rather than let shots breathe. But in this case I do think that it was beneficial.&nbsp;"They&nbsp;speak English, but I think it can be more&nbsp;difficult to gauge someone's reaction to the cut, when it's not the directors' first language.&nbsp;And everything was done remotely of course, which is a different beast.&nbsp;But on the whole, it was mainly positive. It gave me a bit more time to work things out before sending stuff back to them without people peering over your shoulder.[vidtoken data:2]Obongjayar – Tinko Tinko (Don't Play Me For A Fool)&nbsp;(dir: Milo Blake) (2022)"This was my first time working with Milo Blake, a very talented director.&nbsp;In the video Obongjayar plays&nbsp;a janitor at an internet café. He logs in and types in the track name, and slowly you realise it's him singing back to himself, in the same location - but it's a very different, upside down version of his world, and that world starts to infect the real world.<blockquote>The challenge on this one was how you feed in the narrative into performance.</blockquote>"We had a pretty crazy schedule on this - I initially had a day to assemble the first edit. The challenge on this one was more about how you feed in the narrative into performance. It's how you make it visually interesting and dynamic but keep this narrative thread running through it so it all makes sense.&nbsp;And once again it was VFX-heavy - lots of screen comps and other things going on."I feel fairly comfortable about doing comps to a certain level. When you're assisting here, on commercials, VFX is often what you learn first, before the editing. Often editors are concentrating on the cut, and will roughly comp something together and then call you in to work on it.[vidtoken data:3]Passenger - In The Blink of an Eye (dir: Raja Virdi) (2022)"The concept was to use a satellite crane camera to cycle through key moments in the artist’s life - with a series of hidden cuts giving the impression of a one-shot. Really the credit for this one must go to the direction and production - it was essential that the duration of each shot was spot on, if not there was really nowhere to hide… And of course the performance and set design was vital to drive the narrative."In terms of edit, it was relatively simple as most shots were tied to the specific lyrics, so the structure was pretty locked in. It was mainly about picking the best take for each set up and cleaning up the transitions a little."[vidtoken data:4]Metronomy – Right On Time (dir: Juliet Casella and Thibaud Caesar) (2022)"That was a massive post job. I don’t think I’m shattering the illusion here to say that a lot of wires needed to be removed. The VFX took a long time, there was a lot of&nbsp;back and forth.&nbsp;I did a few 'dirty comps' to begin with. The stuff that was easy to do, I&nbsp;would comp out, but with the more difficult skydiving stuff, I left it as it was.&nbsp;<blockquote>I don’t think I’m shattering the illusion to say that lots of wires had to be removed.</blockquote>"But in terms of the edit, it was a similar situation as before – I started by assembling the storyboard. Again there was a bit of a desire to make it more high-tempo&nbsp;in parts, and we did move stuff around a little bit.&nbsp;It was a reasonably smooth process, not a lot of edit changes."I loved working on those Metronomy videos. There’s a sense of joy that carries&nbsp;through them, especially Right On Time. And that's really nice, especially in the times that we’re living in."[vidtoken data:5]Mansur Brown - My Prayer (dir: Filmawi) (2021)"We had a bunch of time to work on this - we started in January and finished in May.&nbsp;We also had lots of footage to work with, and Filmawi&nbsp;was in the room the whole time. Everything, every cut, was considered. And it's a long, instrumental track - over six minutes."The imagery that Fil shot worked really nicely in terms of the edit. For instance, the parallels between shots of trees in the forest and streetlamps in the city. There's a fair amount of stock footage in there too, and we spent a lot of time looking for the right thing that works, so it didn't look out of place."Then there was the VFX element as well, which was great. Fil spent a lot of time getting that right, to create the tiny universe within the film. Terrence Mallick's Tree Of Life was a big influence on this film. That features a floating light and we used that as our placeholder for this one while we were editing.&nbsp;&nbsp;"This is the favourite thing I've worked on.&nbsp;It works really nicely with the music, especially the nighttime scenes. When I hear the music now, I immediately think of the video."• Jamie Hodgson is an editor at Work Editorial. See more of his work <a href="https://www.workeditorial.tv/editors/jamie-hodgson/" target="_blank">here</a>. Contact Charlie Dalton, Jamie's producer at Work in London <a href="http://charlie@workeditorial.tv" target="_blank">here</a>.

The Story So Far... Jamie Hodgson, Work Editorial

Pa Salieu - Over There (YouTube Legacy x Tokyo James Live Performance)

Metronomy-'Things-Will-Be-Fine'-by-Juliet-Casella-&-Thibaut-Caesar 

Obongjayar - Tinko Tinko (Don't Play Me for a Fool)

Passenger | Blink Of An Eye (Official Video)

Metronomy - Right on time (Official Video)

Mansur Brown - My Prayer (Official Video)

Milo Blake's takes Obangjayar into an Afropop direction,&nbsp;with a noir twist, in the video for the pulsating Tinko Tinko (Don't Play Me For a Fool).Obongjayar is working a nightshift&nbsp;at tech company OB Dream Corp&nbsp;-&nbsp;no relation to a certain repping agency - and while on a break he switches on a distinctly old-school desktop and finds a viral video that becomes his portal into a twisted mirror image of his own world.In this alternate dimension, Obangjayar is transformed into a pop artist, performing the song, and accompanied in the same office by dancers. As the views skyrocket on the viral video, it plays on how&nbsp;technology and viral trends consume our lives. Eventually the lines between the digital and real world become completely blurred - and the hardware itself takes on a organic quality.It's an intriguing showcase for the artist aka Steven Umoh, which shows how he represents an exciting new take on Afropop and Afrobeat&nbsp;- and also shows Milo Blake's also moving into exciting new territory as a video director.[imgtoken data:1]

KZ Creatives

Ella Lucia

Milo Blake

Jordi Estapé

Mouthpiece

Spindle

Theo Lalic

Greg Probert

Peter Bishop

Nosisa Majuqwana

Jamie Tarr

Freddie Wright

Mike Linforth

Liam Reardon

Jimmy Van Twest 

Myles Bevan

Harry Davidson

September

Time Based Arts

Afro-Pop

Afrobeat

Obongjayar 'Tinko Tinko (Don't Play Me For A Fool)' by Milo Blake

Following the warmly nostalgic video for <a href="https://www.promonews.tv/videos/2022/01/21/metronomy-things-will-be-fine-juliet-casella-thibaut-caesar%C2%A0/74645">Things Will Be Fine</a>, Metronomy reunite with directors&nbsp;Juliet Casella &amp; Thibaut Caesar for the gleeful Right On Time.&nbsp;The band situate a dreamworld where they go skydiving, and then landing to enjoy a picnic and a spontaneous performance.&nbsp;Wonderfully art directed, the whimsical set design feels like a vintage kid's TV show, with bright colours and a menagerie of wacky props - which also happen to float around on their own.&nbsp;Anchored by playful performances and an overtly joyous tone, the video is an escape from the real world just momentarily, to enjoy a more innocent, laidback fantasy.And if you want to know more about how Casella &amp; Caesar and Metronomy created their skydive/picnic fantasy, check out the <a href="https://www.youtube.com/watch?v=sicuQeJO0kM" target="_blank">behind the scenes video</a>.

Juliet Casella

Thibaut Caesar 

Joseph J. Goldman

Tara Sadeghi

Aaron Z. Willson

Natalia Maus

Because Music

Steve Wingrove

Adam Singodia

Nacho Guzman

Lou Alvarez

James Duffy

Briony Albert

Oliver Hogan

Anna Inglis Hall

Holly Adamthwaite Wood

Phil Wood

Glassworks

Jonny Thorpe

Ground Work

Metronomy 'Right On Time' by Juliet Casella & Thibaut Caesar 

Metronomy relive their teenage years&nbsp;in Juliet Casella and Thibaut Caesar's warmly nostalgic video for Things Will Be Fine.&nbsp;Band frontman Joseph Mount describes the video as “a sort of pseudo role-play therapy session in which we all re-visit our teenage selves.” And as such the five bandmembers each have their own well-observed vignette, recreating the byegone age of the late Nineties/early Noughties, reflecting on some of their childhood ambitions and dreams.&nbsp;So we see Metronomy revisit&nbsp;old social media platforms (on a first-gen iMac), first-time attempts at shaving, saving a guinea pig on the loose, and suffering from teen ennui - all unfolding within the same house. It's glued together by a band performance, which also has the feel of&nbsp;a teen band try-out, in the living room.[imgtoken data:1]With a&nbsp;concept that flows directly from the song's lyrics, the video delivers on bringing those themes to life in way that's pitch-perfect for the band. The art direction and set design are top-notch, as are&nbsp;the performances. It makes for a memorable, charming video - and&nbsp;confirms a fairly evident fact that Metronomy are a marvellous video band.But apparently, making this video did take its toll.&nbsp;Joseph Mount concludes: “Everyone ended up more scarred than they did before making it - apart from Michael [Lovett] and his fucking guinea pigs.” And that's that.&nbsp;

Davide Scalenghe

Matthew Hollis

Johnjoe Besagni

Celia Arias

Ben Tomlin

Electronic

Metronomy 'Things Will Be Fine' by Juliet Casella & Thibaut Caesar 

Continuing seamlessly&nbsp;from the slick, nightclub aesthetic of Take My Breath, The Weeknd and Cliqua introduce the alluring, dangerous world of the new album Dawn FM.Hell is just around the corner...

United States

Cliqua

Roisin Audrey Moloney

Somesuch

Alli Maxwell

Tim Nash

Kenneth Arnold Taylor

Norm Li

Carlos Laszlo

Matthew Henson

Lisa Madonna

Mike Marino, Prosthetic Renaissance

Jonny Problem

Nina McNeely

Ayesha Orange

Joe Keenan

Spencer Scranton

Nick Kirsten

Nick Rondeau

Evan Cohen

Foreign Xchange

Benjamin Gordon

Sunset Edit

Raphaël Ajuelos

Kodak

Fotokem

The Weeknd 'Sacrifice' by Cliqua

The Weeknd - Sacrifice (Official Music Video)

She's a highly respected editor, but it took the first Lockdown of 2020 for Anne Perri to make the leap into directing - creating the visuals for the new music project by long-time collaborator&nbsp;Jon Clarke. The result is an abstract tour de force.&nbsp;As an editor, Anne Perri&nbsp;has honed her craft on commercials, promos, short films, documentaries, and more, for the past fifteen years or so.&nbsp;As a longstanding member of the roster at <a href="https://www.workeditorial.tv/" target="_blank">Work Editorial</a> in London, she has won several awards - including a Bronze for Best Editing at The Clios last year.But when the first lockdown happened in early 2020, that was the catalyst for Perri to try something different. Rather than working with the footage of other directors - the likes of Margot Bowman, Eloise King, George Belfield, Sindha Agha and Jovan Todorovic - she started shooting her own, and then editing that.The incentive was to create a video for the new music project by&nbsp;sound designer&nbsp;Jon Clarke, who has worked on numerous projects alongside Perri.&nbsp;The result is Lifeform 001&nbsp; -&nbsp;a mesmerising work of abstract imagery, created largely from everyday footage that has been expertly manipulated in post production.&nbsp;[vidtoken data:0]In creating the work, Perri has combined the elemental unpredictablility of the natural world with the comforting regularity of two-dimensional shapes, increasingly layering the black and white imagery as it passes through distinct phases in the music.Indeed the combination of the electronic track Lifeform 001 by Clarke (aka CLRK ALTER) and Perri's visuals is music video as art project, suited to be&nbsp;an installation in a gallery space as much on YouTube.So we talked to Anne Perri about how the pause in her 'day job' in 2020 was the incentive to make this happen - and how she created it.[imgtoken data:1]<blockquote>Jon and I had worked on lots of projects together - but never our own film.</blockquote>How did the project start?Jon Clarke, a sound designer and composer at Factory, called me up at the beginning of lockdown having listened to me on a podcast. I’d been talking about my interest in video installation and he thought it would be a good idea to collaborate with me on a music video.Jon and I have known each other for years, we have worked on lots of projects together in advertising, shorts and a feature film - but never our own film. We have similar interests and tastes in music so I think he thought I could bring something interesting to his first single.[imgtoken data:2]Where does the music come from?The music is from CLRK ALTER which is Jon's new side project. It's the first single from his EP 'Lifeform' being released on SIREN recordings. His music is amazing. Dark electronic tones mixed with classical music. The sort of music I love.<blockquote>The track moves through three main sections and I wanted to mirror that.</blockquote>How would you describe the theme of the visuals?Escapism into the dark void. When I heard the track I immediately thought of dark imagery and shapes moving in space. We chatted about the music and Jon explained that the track started off with a heartbeat he recorded from his baby before she was born.[imgtoken data:3]The track moves through three main sections and I wanted to mirror that in the imagery. The opening was almost womb-like, then these bursts of energy kickstart as the track kicks off.I wanted the visuals to represent that journey and have the same feel. For example when the track kicks into life I created all these microscopic electrical images that pulse with the beats.Were you always intent on creating something quite abstract?Yes, that was always my intent. I wanted to film everyday life around me in lockdown and make it so abstract that the viewer has no idea what they were looking at.[imgtoken data:4]What were the processes that you used to create the imagery?I only used Premiere to make this film and all the effects are created with this program. I've been editing with Avid for years and wanted to really learn the full potential of Premiere and what it could do.<blockquote>It felt like I was creating a digital painting with each shot.</blockquote>Jon and I talked a lot about giving the footage depth and a 3D quality. I started to experiment with layering shots on top of each other and pushing the effects until I got that 3D look. It sometimes felt like I was creating a digital painting with each shot. Making it black and white also helped with the 3D feel as I could rotate objects and make them feel like they are floating in space.[imgtoken data:5]What's the significance of the use of circles, and rows of dots?This was purely what was available for me to shoot in my surroundings during lockdown.&nbsp;In a way, being limited to what was around me allowed me to look at things closer and to investigate them in a different ways.&nbsp; I’m surrounded by a lot of nature in my area as well as industrial buildings and the geometric shapes were built from this.Did you shoot any original footage?It's all original footage shot by myself on my iPhone. During lockdown when we were only allowed one walk a day, I would shoot whatever I thought was interesting to photograph. I would shoot in the morning, and in the afternoon I would edit and effect it.[imgtoken data:6]There's only one image toward the end of the film that was captured from a plane in Torino of the Italian mountains. I needed a shot with scale and that's all I had.Have you directed anything before this? Are you looking to direct more?I've directed a fashion film with a lot of stop motion garments floating in space. That film was also very abstract. I think if an interesting project came along I would definitely be up for directing again.Credits: ---------------------------------------------------------------------------------- Artist - CLRK ALTER Track - Lifeform 001 Directed by - Anne Perri Edited by - Anne Perri at Work Editorial Grade by - Luke Morrison at Electric Theatre Company EP Released on Siren Recordings https://siren.uk.com/release/lifeform-clrk-alter/ Instagram Clrkalter -&nbsp;https://www.instagram.com/clrkalter/ Anne Perri -&nbsp;https://www.instagram.com/anne__perri/ Time Stops at Four -&nbsp;https://www.instagram.com/time.stops.at.four/ Work Editorial -&nbsp;https://www.instagram.com/workeditorial/• Anne Perri is an editor at Work Editorial in London. See her reel <a href="https://www.workeditorial.tv/editors/anne-perri/" target="_blank">here</a>.

Anne Perri

'Escapism into the dark void' - editor Anne Perri on her lockdown directing project for CLRK ALTER

CLRK ALTER - Lifeform 001

Raja Virdi directs a fun festive promo to herald the return of George Ezra.Shot inside stunning central London venue 8 Northumberland Avenue, we see&nbsp;George perform in&nbsp;front of an ecstatic crowd, as snow starts to fall and creates a winter wonderland. From ballroom dancing to slick contemporary moves, the video celebrates the magic of the dancefloor whilst paying homage to traditional festive promos that have preceded it.&nbsp;It's a great addition to the Christmas Pop&nbsp;videography, and a welcome comeback to one of the UK's most distinctive voices.

George Ezra 'Come On Home For Christmas' by Raja Virdi

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