Ewan Jones Morris's new video for Anna Meredith follows on from their previous collaboration for Paramour, finding interesting ways to use tiny cameras.

For Paramour, there was one GoPro, attached to a very small train, made of Lego, capturing a musical performance. For Killjoy, there are lots of GoPro, to capture Meredith and her band's enterprising move into the world of dance.

The band perform movement choreographed by David Ogle, reaching fairly complex physical interconnections (for non-dance professionals) to reflect Meredith's complex music. Jones Morris contribution is to add a further dimension, and give the performance more dynamism: the numerous GoPros are arranged in a circle; they record the action, from every angle; and they are also part of the video, creating a context for the performance. 

Again, it's a one-take deal, but editor Florence Kennard cuts between the cameras around the band to make the video as kinetic as the track. A mathematical approach to the modern classical-meets-math rock - math classical? - of Meredith's Killjoy, from the Mercury Prize-nominated Fibs.  

EWAN JONES MORRIS:

The highlight was using my rusty GCSE trigonometry skills during the setup.

"It's kind of a sister video to the Paramour vid I made with (Mercury-nominated) Anna Meredith last year: no budget, GoPpros and the band doing their utmost to hit their marks.

"Anna and company. had already been working with choreographer David Ogle on a routine for the track, GoPro had reached out after seeing the Paramour vid and I had seen The Matrix in the cinema over 20 years ago. So it all came together in a beautiful circle.

"The highlight for me was getting to use my very rusty GCSE trigonometry skills during the setup. Big shout out to editor Florence Kennard for managing to piece the whole thing together. It involved 30 video tracks and the most sluggish, crash inducing timeline I've ever seen.

"Like a lot of what I do it's wonky (although the maths were strong), honest and hopefully a bit fun."