BISON's new video for Rosie Lowe's Worry Bout Us starts as a simple performance, then turns into something more complex - and literally twisted - as Rosie comes in contact, and then inextricably entwined with a male dancer. 

In characteristic BISON fashion, as with videos for London Grammar, Jon Hopkins and others, a strong visual technique is delivered in a crisp, elegant aesthetic. The sinuous 'slit-scan' effect employed here has been around for a while, but rarely has it seemed so well-matched to the music. Nor has Rosie Lowe looked so good in a video.

For the past year, BISON has been just Dave Bullivant – his former partner Owen Silverwood has now left the team to focus on his stills photography – and as he explains below, the technical direction of the video was wholly led by the lyrical content, after his discussions with Lowe.

And BISON has now joined Good Egg for representation for commercials and music videos. "BISON joining Good Egg has made our week," says Good Egg executive producer John Hassay. "I've followed David's work since he started out at Blinkink and have followed his career develop ever since. London Grammar is a creative high point in music video and we're looking forward to building on that calibre of work." 

BISON:

"Rosie and I had a long conversation about the story behind this track and how it was about 'trying to maintain a relationship with someone who is plagued by jealousy and insecurity'. This, coupled with the warping and stretching sounds at the start of the music made me instantly think of this Slit Scan technique. It basically offsets each line of pixels in time, and creates wonderfully distorted shapes and textures.

"I wanted Rosie to appear as the rock of the relationship, whilst also being empathetic to her lover, so we were very careful about how and where to apply this effect. With the level of post production in the piece, it required a lot of trust from Rosie and her team. 

"It was technically pretty tricky to ensure everything was going to work as I wanted in the end – not least because of the length of render times meant that we couldn’t actually test anything on the day. Lee Watson and I spent three weeks going through the shots and experimenting with various settings and permutations. I think the record was 28 hours of rendering for one shot.

"I’m really happy with how it all turned out as there is real synchronicity with the music and the visual, which is something I always strive to achieve."