It's sexy, as you might expect with a video for Peaches - but even though the styling is very Spiders From Mars, not in an ironic way.

It's sexy, as you might expect with a video for Peaches - but even though the styling is very Spiders From Mars, not in an ironic way. Kinga Burza's video for I Feel Cream is also hypnotically gorgeous, with experimental camerawork, projections, and vision-mixing - all achieved on a smidgeon, as she explains below. In short, it's a lovely thing - and you will be feeling it. <em>Kinga Burza on making the video for Peaches' I Feel Cream</em> "When Sasha [Nixon, Partizan's head of video] first played me I Feel Cream I became excited by a fresh, softer and sensual sound from Peaches that we haven't heard before, and saw an opportunity to match it visually. "We were particularly restricted on this one budget-wise but Will Bex and I were always attracted to the opportunity to be experimental with this project, have some fun and do something we weren't normally able to do in pop video. Although we managed to wrangle in a couple of amazing giant-sized projectors as a favour and a decent number of willing and excited crew, we couldn't afford to shoot prime HDV so we made a conscious decision to embrace the low-fi digi quality, rather than try to make it feel like it was pretending to be something it wasn't. "I'd always wanted to experiment with a vintage vision mixer so Peaches become our perfect culprit. She's not exactly the type to have any qualms about working a camera sans beauty lighting, high quality format or prime lenses. Instead she gave us her best in our tiny photographic studio, the same morning as she flew into London post-gigging in Ibiza, whilst we pointed handheld Hi 8 and DV cameras at her, simultaneously feeding it into a mixer and recording my amateur mixing performances on tape. "We couldn't afford gels (it was really tight!) so we took advantage of our amazing projectors, using them as light sources, washing Peaches in moving lights from carefully prepared abstract Quicktimes courtesy of on-set editor Jo Apps, as well as using the projectors to project previous takes of Peaches back onto herself, whilst I mixed between Camera A and B, which were fed both through the mixer. "We were also really lucky we managed to wrangle some brilliant samples from normally difficult-to-impress fashion press offices. It's a video that really gained a lot from Peaches' ability to express herself in dramatic metallic shoulders, cut out leotards and thigh-high, lace up Louis Vuitton boots, taking you back to those early but exciting Bowie videos that were merely a wonderful performance of a red-headed David against a white wall wearing blue shadow. I knew if we were forced to go minimal, we were best to make a statement! "Darren Baldwin and I then attempted to make the final result as interesting as possible by building the cut, creatively and musically so that visually we were able to compliment the greatest track on the album as best as we could."

Kinga Burza's video for I Feel Cream is also hypnotically gorgeous, with experimental camerawork, projections, and vision-mixing - all achieved on a smidgeon, as she explains below.

It's sexy, as you might expect with a video for Peaches - but even though the styling is very Spiders From Mars, not in an ironic way. Kinga Burza's video for I Feel Cream is also hypnotically gorgeous, with experimental camerawork, projections, and vision-mixing - all achieved on a smidgeon, as she explains below. In short, it's a lovely thing - and you will be feeling it. <em>Kinga Burza on making the video for Peaches' I Feel Cream</em> "When Sasha [Nixon, Partizan's head of video] first played me I Feel Cream I became excited by a fresh, softer and sensual sound from Peaches that we haven't heard before, and saw an opportunity to match it visually. "We were particularly restricted on this one budget-wise but Will Bex and I were always attracted to the opportunity to be experimental with this project, have some fun and do something we weren't normally able to do in pop video. Although we managed to wrangle in a couple of amazing giant-sized projectors as a favour and a decent number of willing and excited crew, we couldn't afford to shoot prime HDV so we made a conscious decision to embrace the low-fi digi quality, rather than try to make it feel like it was pretending to be something it wasn't. "I'd always wanted to experiment with a vintage vision mixer so Peaches become our perfect culprit. She's not exactly the type to have any qualms about working a camera sans beauty lighting, high quality format or prime lenses. Instead she gave us her best in our tiny photographic studio, the same morning as she flew into London post-gigging in Ibiza, whilst we pointed handheld Hi 8 and DV cameras at her, simultaneously feeding it into a mixer and recording my amateur mixing performances on tape. "We couldn't afford gels (it was really tight!) so we took advantage of our amazing projectors, using them as light sources, washing Peaches in moving lights from carefully prepared abstract Quicktimes courtesy of on-set editor Jo Apps, as well as using the projectors to project previous takes of Peaches back onto herself, whilst I mixed between Camera A and B, which were fed both through the mixer. "We were also really lucky we managed to wrangle some brilliant samples from normally difficult-to-impress fashion press offices. It's a video that really gained a lot from Peaches' ability to express herself in dramatic metallic shoulders, cut out leotards and thigh-high, lace up Louis Vuitton boots, taking you back to those early but exciting Bowie videos that were merely a wonderful performance of a red-headed David against a white wall wearing blue shadow. I knew if we were forced to go minimal, we were best to make a statement! "Darren Baldwin and I then attempted to make the final result as interesting as possible by building the cut, creatively and musically so that visually we were able to compliment the greatest track on the album as best as we could."

In short, it's a lovely thing - and you will be feeling it.

It's sexy, as you might expect with a video for Peaches - but even though the styling is very Spiders From Mars, not in an ironic way. Kinga Burza's video for I Feel Cream is also hypnotically gorgeous, with experimental camerawork, projections, and vision-mixing - all achieved on a smidgeon, as she explains below. In short, it's a lovely thing - and you will be feeling it. <em>Kinga Burza on making the video for Peaches' I Feel Cream</em> "When Sasha [Nixon, Partizan's head of video] first played me I Feel Cream I became excited by a fresh, softer and sensual sound from Peaches that we haven't heard before, and saw an opportunity to match it visually. "We were particularly restricted on this one budget-wise but Will Bex and I were always attracted to the opportunity to be experimental with this project, have some fun and do something we weren't normally able to do in pop video. Although we managed to wrangle in a couple of amazing giant-sized projectors as a favour and a decent number of willing and excited crew, we couldn't afford to shoot prime HDV so we made a conscious decision to embrace the low-fi digi quality, rather than try to make it feel like it was pretending to be something it wasn't. "I'd always wanted to experiment with a vintage vision mixer so Peaches become our perfect culprit. She's not exactly the type to have any qualms about working a camera sans beauty lighting, high quality format or prime lenses. Instead she gave us her best in our tiny photographic studio, the same morning as she flew into London post-gigging in Ibiza, whilst we pointed handheld Hi 8 and DV cameras at her, simultaneously feeding it into a mixer and recording my amateur mixing performances on tape. "We couldn't afford gels (it was really tight!) so we took advantage of our amazing projectors, using them as light sources, washing Peaches in moving lights from carefully prepared abstract Quicktimes courtesy of on-set editor Jo Apps, as well as using the projectors to project previous takes of Peaches back onto herself, whilst I mixed between Camera A and B, which were fed both through the mixer. "We were also really lucky we managed to wrangle some brilliant samples from normally difficult-to-impress fashion press offices. It's a video that really gained a lot from Peaches' ability to express herself in dramatic metallic shoulders, cut out leotards and thigh-high, lace up Louis Vuitton boots, taking you back to those early but exciting Bowie videos that were merely a wonderful performance of a red-headed David against a white wall wearing blue shadow. I knew if we were forced to go minimal, we were best to make a statement! "Darren Baldwin and I then attempted to make the final result as interesting as possible by building the cut, creatively and musically so that visually we were able to compliment the greatest track on the album as best as we could."

Kinga Burza on making the video for Peaches' I Feel Cream

It's sexy, as you might expect with a video for Peaches - but even though the styling is very Spiders From Mars, not in an ironic way. Kinga Burza's video for I Feel Cream is also hypnotically gorgeous, with experimental camerawork, projections, and vision-mixing - all achieved on a smidgeon, as she explains below. In short, it's a lovely thing - and you will be feeling it. <em>Kinga Burza on making the video for Peaches' I Feel Cream</em> "When Sasha [Nixon, Partizan's head of video] first played me I Feel Cream I became excited by a fresh, softer and sensual sound from Peaches that we haven't heard before, and saw an opportunity to match it visually. "We were particularly restricted on this one budget-wise but Will Bex and I were always attracted to the opportunity to be experimental with this project, have some fun and do something we weren't normally able to do in pop video. Although we managed to wrangle in a couple of amazing giant-sized projectors as a favour and a decent number of willing and excited crew, we couldn't afford to shoot prime HDV so we made a conscious decision to embrace the low-fi digi quality, rather than try to make it feel like it was pretending to be something it wasn't. "I'd always wanted to experiment with a vintage vision mixer so Peaches become our perfect culprit. She's not exactly the type to have any qualms about working a camera sans beauty lighting, high quality format or prime lenses. Instead she gave us her best in our tiny photographic studio, the same morning as she flew into London post-gigging in Ibiza, whilst we pointed handheld Hi 8 and DV cameras at her, simultaneously feeding it into a mixer and recording my amateur mixing performances on tape. "We couldn't afford gels (it was really tight!) so we took advantage of our amazing projectors, using them as light sources, washing Peaches in moving lights from carefully prepared abstract Quicktimes courtesy of on-set editor Jo Apps, as well as using the projectors to project previous takes of Peaches back onto herself, whilst I mixed between Camera A and B, which were fed both through the mixer. "We were also really lucky we managed to wrangle some brilliant samples from normally difficult-to-impress fashion press offices. It's a video that really gained a lot from Peaches' ability to express herself in dramatic metallic shoulders, cut out leotards and thigh-high, lace up Louis Vuitton boots, taking you back to those early but exciting Bowie videos that were merely a wonderful performance of a red-headed David against a white wall wearing blue shadow. I knew if we were forced to go minimal, we were best to make a statement! "Darren Baldwin and I then attempted to make the final result as interesting as possible by building the cut, creatively and musically so that visually we were able to compliment the greatest track on the album as best as we could."

"When Sasha [Nixon, Partizan's head of video] first played me I Feel Cream I became excited by a fresh, softer and sensual sound from Peaches that we haven't heard before, and saw an opportunity to match it visually.

It's sexy, as you might expect with a video for Peaches - but even though the styling is very Spiders From Mars, not in an ironic way. Kinga Burza's video for I Feel Cream is also hypnotically gorgeous, with experimental camerawork, projections, and vision-mixing - all achieved on a smidgeon, as she explains below. In short, it's a lovely thing - and you will be feeling it. <em>Kinga Burza on making the video for Peaches' I Feel Cream</em> "When Sasha [Nixon, Partizan's head of video] first played me I Feel Cream I became excited by a fresh, softer and sensual sound from Peaches that we haven't heard before, and saw an opportunity to match it visually. "We were particularly restricted on this one budget-wise but Will Bex and I were always attracted to the opportunity to be experimental with this project, have some fun and do something we weren't normally able to do in pop video. Although we managed to wrangle in a couple of amazing giant-sized projectors as a favour and a decent number of willing and excited crew, we couldn't afford to shoot prime HDV so we made a conscious decision to embrace the low-fi digi quality, rather than try to make it feel like it was pretending to be something it wasn't. "I'd always wanted to experiment with a vintage vision mixer so Peaches become our perfect culprit. She's not exactly the type to have any qualms about working a camera sans beauty lighting, high quality format or prime lenses. Instead she gave us her best in our tiny photographic studio, the same morning as she flew into London post-gigging in Ibiza, whilst we pointed handheld Hi 8 and DV cameras at her, simultaneously feeding it into a mixer and recording my amateur mixing performances on tape. "We couldn't afford gels (it was really tight!) so we took advantage of our amazing projectors, using them as light sources, washing Peaches in moving lights from carefully prepared abstract Quicktimes courtesy of on-set editor Jo Apps, as well as using the projectors to project previous takes of Peaches back onto herself, whilst I mixed between Camera A and B, which were fed both through the mixer. "We were also really lucky we managed to wrangle some brilliant samples from normally difficult-to-impress fashion press offices. It's a video that really gained a lot from Peaches' ability to express herself in dramatic metallic shoulders, cut out leotards and thigh-high, lace up Louis Vuitton boots, taking you back to those early but exciting Bowie videos that were merely a wonderful performance of a red-headed David against a white wall wearing blue shadow. I knew if we were forced to go minimal, we were best to make a statement! "Darren Baldwin and I then attempted to make the final result as interesting as possible by building the cut, creatively and musically so that visually we were able to compliment the greatest track on the album as best as we could."

"We were particularly restricted on this one budget-wise but Will Bex and I were always attracted to the opportunity to be experimental with this project, have some fun and do something we weren't normally able to do in pop video. Although we managed to wrangle in a couple of amazing giant-sized projectors as a favour and a decent number of willing and excited crew, we couldn't afford to shoot prime HDV so we made a conscious decision to embrace the low-fi digi quality, rather than try to make it feel like it was pretending to be something it wasn't.

It's sexy, as you might expect with a video for Peaches - but even though the styling is very Spiders From Mars, not in an ironic way. Kinga Burza's video for I Feel Cream is also hypnotically gorgeous, with experimental camerawork, projections, and vision-mixing - all achieved on a smidgeon, as she explains below. In short, it's a lovely thing - and you will be feeling it. <em>Kinga Burza on making the video for Peaches' I Feel Cream</em> "When Sasha [Nixon, Partizan's head of video] first played me I Feel Cream I became excited by a fresh, softer and sensual sound from Peaches that we haven't heard before, and saw an opportunity to match it visually. "We were particularly restricted on this one budget-wise but Will Bex and I were always attracted to the opportunity to be experimental with this project, have some fun and do something we weren't normally able to do in pop video. Although we managed to wrangle in a couple of amazing giant-sized projectors as a favour and a decent number of willing and excited crew, we couldn't afford to shoot prime HDV so we made a conscious decision to embrace the low-fi digi quality, rather than try to make it feel like it was pretending to be something it wasn't. "I'd always wanted to experiment with a vintage vision mixer so Peaches become our perfect culprit. She's not exactly the type to have any qualms about working a camera sans beauty lighting, high quality format or prime lenses. Instead she gave us her best in our tiny photographic studio, the same morning as she flew into London post-gigging in Ibiza, whilst we pointed handheld Hi 8 and DV cameras at her, simultaneously feeding it into a mixer and recording my amateur mixing performances on tape. "We couldn't afford gels (it was really tight!) so we took advantage of our amazing projectors, using them as light sources, washing Peaches in moving lights from carefully prepared abstract Quicktimes courtesy of on-set editor Jo Apps, as well as using the projectors to project previous takes of Peaches back onto herself, whilst I mixed between Camera A and B, which were fed both through the mixer. "We were also really lucky we managed to wrangle some brilliant samples from normally difficult-to-impress fashion press offices. It's a video that really gained a lot from Peaches' ability to express herself in dramatic metallic shoulders, cut out leotards and thigh-high, lace up Louis Vuitton boots, taking you back to those early but exciting Bowie videos that were merely a wonderful performance of a red-headed David against a white wall wearing blue shadow. I knew if we were forced to go minimal, we were best to make a statement! "Darren Baldwin and I then attempted to make the final result as interesting as possible by building the cut, creatively and musically so that visually we were able to compliment the greatest track on the album as best as we could."

"I'd always wanted to experiment with a vintage vision mixer so Peaches become our perfect culprit. She's not exactly the type to have any qualms about working a camera sans beauty lighting, high quality format or prime lenses. Instead she gave us her best in our tiny photographic studio, the same morning as she flew into London post-gigging in Ibiza, whilst we pointed handheld Hi 8 and DV cameras at her, simultaneously feeding it into a mixer and recording my amateur mixing performances on tape.

It's sexy, as you might expect with a video for Peaches - but even though the styling is very Spiders From Mars, not in an ironic way. Kinga Burza's video for I Feel Cream is also hypnotically gorgeous, with experimental camerawork, projections, and vision-mixing - all achieved on a smidgeon, as she explains below. In short, it's a lovely thing - and you will be feeling it. <em>Kinga Burza on making the video for Peaches' I Feel Cream</em> "When Sasha [Nixon, Partizan's head of video] first played me I Feel Cream I became excited by a fresh, softer and sensual sound from Peaches that we haven't heard before, and saw an opportunity to match it visually. "We were particularly restricted on this one budget-wise but Will Bex and I were always attracted to the opportunity to be experimental with this project, have some fun and do something we weren't normally able to do in pop video. Although we managed to wrangle in a couple of amazing giant-sized projectors as a favour and a decent number of willing and excited crew, we couldn't afford to shoot prime HDV so we made a conscious decision to embrace the low-fi digi quality, rather than try to make it feel like it was pretending to be something it wasn't. "I'd always wanted to experiment with a vintage vision mixer so Peaches become our perfect culprit. She's not exactly the type to have any qualms about working a camera sans beauty lighting, high quality format or prime lenses. Instead she gave us her best in our tiny photographic studio, the same morning as she flew into London post-gigging in Ibiza, whilst we pointed handheld Hi 8 and DV cameras at her, simultaneously feeding it into a mixer and recording my amateur mixing performances on tape. "We couldn't afford gels (it was really tight!) so we took advantage of our amazing projectors, using them as light sources, washing Peaches in moving lights from carefully prepared abstract Quicktimes courtesy of on-set editor Jo Apps, as well as using the projectors to project previous takes of Peaches back onto herself, whilst I mixed between Camera A and B, which were fed both through the mixer. "We were also really lucky we managed to wrangle some brilliant samples from normally difficult-to-impress fashion press offices. It's a video that really gained a lot from Peaches' ability to express herself in dramatic metallic shoulders, cut out leotards and thigh-high, lace up Louis Vuitton boots, taking you back to those early but exciting Bowie videos that were merely a wonderful performance of a red-headed David against a white wall wearing blue shadow. I knew if we were forced to go minimal, we were best to make a statement! "Darren Baldwin and I then attempted to make the final result as interesting as possible by building the cut, creatively and musically so that visually we were able to compliment the greatest track on the album as best as we could."

"We couldn't afford gels (it was really tight!) so we took advantage of our amazing projectors, using them as light sources, washing Peaches in moving lights from carefully prepared abstract Quicktimes courtesy of on-set editor Jo Apps, as well as using the projectors to project previous takes of Peaches back onto herself, whilst I mixed between Camera A and B, which were fed both through the mixer.

It's sexy, as you might expect with a video for Peaches - but even though the styling is very Spiders From Mars, not in an ironic way. Kinga Burza's video for I Feel Cream is also hypnotically gorgeous, with experimental camerawork, projections, and vision-mixing - all achieved on a smidgeon, as she explains below. In short, it's a lovely thing - and you will be feeling it. <em>Kinga Burza on making the video for Peaches' I Feel Cream</em> "When Sasha [Nixon, Partizan's head of video] first played me I Feel Cream I became excited by a fresh, softer and sensual sound from Peaches that we haven't heard before, and saw an opportunity to match it visually. "We were particularly restricted on this one budget-wise but Will Bex and I were always attracted to the opportunity to be experimental with this project, have some fun and do something we weren't normally able to do in pop video. Although we managed to wrangle in a couple of amazing giant-sized projectors as a favour and a decent number of willing and excited crew, we couldn't afford to shoot prime HDV so we made a conscious decision to embrace the low-fi digi quality, rather than try to make it feel like it was pretending to be something it wasn't. "I'd always wanted to experiment with a vintage vision mixer so Peaches become our perfect culprit. She's not exactly the type to have any qualms about working a camera sans beauty lighting, high quality format or prime lenses. Instead she gave us her best in our tiny photographic studio, the same morning as she flew into London post-gigging in Ibiza, whilst we pointed handheld Hi 8 and DV cameras at her, simultaneously feeding it into a mixer and recording my amateur mixing performances on tape. "We couldn't afford gels (it was really tight!) so we took advantage of our amazing projectors, using them as light sources, washing Peaches in moving lights from carefully prepared abstract Quicktimes courtesy of on-set editor Jo Apps, as well as using the projectors to project previous takes of Peaches back onto herself, whilst I mixed between Camera A and B, which were fed both through the mixer. "We were also really lucky we managed to wrangle some brilliant samples from normally difficult-to-impress fashion press offices. It's a video that really gained a lot from Peaches' ability to express herself in dramatic metallic shoulders, cut out leotards and thigh-high, lace up Louis Vuitton boots, taking you back to those early but exciting Bowie videos that were merely a wonderful performance of a red-headed David against a white wall wearing blue shadow. I knew if we were forced to go minimal, we were best to make a statement! "Darren Baldwin and I then attempted to make the final result as interesting as possible by building the cut, creatively and musically so that visually we were able to compliment the greatest track on the album as best as we could."

"We were also really lucky we managed to wrangle some brilliant samples from normally difficult-to-impress fashion press offices. It's a video that really gained a lot from Peaches' ability to express herself in dramatic metallic shoulders, cut out leotards and thigh-high, lace up Louis Vuitton boots, taking you back to those early but exciting Bowie videos that were merely a wonderful performance of a red-headed David against a white wall wearing blue shadow. I knew if we were forced to go minimal, we were best to make a statement!

It's sexy, as you might expect with a video for Peaches - but even though the styling is very Spiders From Mars, not in an ironic way. Kinga Burza's video for I Feel Cream is also hypnotically gorgeous, with experimental camerawork, projections, and vision-mixing - all achieved on a smidgeon, as she explains below. In short, it's a lovely thing - and you will be feeling it. <em>Kinga Burza on making the video for Peaches' I Feel Cream</em> "When Sasha [Nixon, Partizan's head of video] first played me I Feel Cream I became excited by a fresh, softer and sensual sound from Peaches that we haven't heard before, and saw an opportunity to match it visually. "We were particularly restricted on this one budget-wise but Will Bex and I were always attracted to the opportunity to be experimental with this project, have some fun and do something we weren't normally able to do in pop video. Although we managed to wrangle in a couple of amazing giant-sized projectors as a favour and a decent number of willing and excited crew, we couldn't afford to shoot prime HDV so we made a conscious decision to embrace the low-fi digi quality, rather than try to make it feel like it was pretending to be something it wasn't. "I'd always wanted to experiment with a vintage vision mixer so Peaches become our perfect culprit. She's not exactly the type to have any qualms about working a camera sans beauty lighting, high quality format or prime lenses. Instead she gave us her best in our tiny photographic studio, the same morning as she flew into London post-gigging in Ibiza, whilst we pointed handheld Hi 8 and DV cameras at her, simultaneously feeding it into a mixer and recording my amateur mixing performances on tape. "We couldn't afford gels (it was really tight!) so we took advantage of our amazing projectors, using them as light sources, washing Peaches in moving lights from carefully prepared abstract Quicktimes courtesy of on-set editor Jo Apps, as well as using the projectors to project previous takes of Peaches back onto herself, whilst I mixed between Camera A and B, which were fed both through the mixer. "We were also really lucky we managed to wrangle some brilliant samples from normally difficult-to-impress fashion press offices. It's a video that really gained a lot from Peaches' ability to express herself in dramatic metallic shoulders, cut out leotards and thigh-high, lace up Louis Vuitton boots, taking you back to those early but exciting Bowie videos that were merely a wonderful performance of a red-headed David against a white wall wearing blue shadow. I knew if we were forced to go minimal, we were best to make a statement! "Darren Baldwin and I then attempted to make the final result as interesting as possible by building the cut, creatively and musically so that visually we were able to compliment the greatest track on the album as best as we could."

"Darren Baldwin and I then attempted to make the final result as interesting as possible by building the cut, creatively and musically so that visually we were able to compliment the greatest track on the album as best as we could."