Owen Brown directs a spectacular promo for electropop trio A R I Z O N A's Moving On, a cinematic musical experience that records the creation of a remarkable piece of land art and subsequent performance by the band in Navajo Nation - in the state of Arizona.With a hybrid documentary and music video structure, this opens with cinematic shots of the journey, and some background information to the concept, the video follows legendary land artist Jim Denevan as he creates the immense, breathtaking land art. The project was made in partnership with Navajo Nation and with the help of 30+ Navajo. They created the massive piece of art with Denevan, who’s been featured in MoMA, Art Basel, Sotheby's and The New York Times. The only land art that’s bigger in the state is James Turrell’s Roden Crater."For the song Moving On, we wanted to create a piece of art that could help anyone struggling to move on from a difficult time," Brown explains. "So to make a beacon of hope, we designed a beacon of light – one strong enough to light up even the darkest of nights. The concept was to create a proverbial ray of hope with literal rays of light, 300 feet high."The film is dedicated to the Navajo, who moved mountains to bring it to life. They found its location, deep in the heart of Navajo Nation, in a dry riverbed. Afterwards, dozens of Navajo artists worked with Jim for seven days straight to build the land art."We also worked with the National Park Service and US Dept of Agriculture to place three 10 feet tall mirrored structures – representing the three band members – in some of Arizona’s most famous national parks, like Sedona’s iconic Cathedral Rock National Park."Taking inspiration from music films like Moonage Daydream, the video features multiple performances and marries tour de force visuals with doc-style storytelling elements. We spent a year and a half making it to tell the story of working with the Navajo to create the biggest land art ever made in Navajo Nation, as well as a spectacle of light unlike anything the world’s ever seen."

Gregg Houston directs a punchy performance promo for Wunderhorse. Shot in an empty office building, the video focuses solely on performance, without frills or superfluous additions - and that's what makes it so spectacular. Imbuing the visual with a sense of high-energy vigour, the band are completely absorbing from every angle, and the gritty textures of the 16mm film lends a rawness and intimacy to the concept. "These guys are earning a reputation for intense live shows and so for this music video we kept things very simple and let them do their thing," Houston says. "We found a pleasing location and got as much 16mm film as we could afford. What else do you need! With roughly one take per angle, the gentlemen gave it their all from the first moment. This is the director's cut so we were allowed to indulge ourselves with some 6fps footage and other flashes that took our interest."

Brock Neal Roberts's new video for Sam Fender - his second for the South Shields singer-songwriter, after last year's MVA-nominated video for Seventeen Going Under - elevates an everyday story of teenage friendship with a clever visual device. In the video for Getting Started, we see four friends work their way down their tower block, picking each other up on the way as they prepare to head for a night out. And each stage is mainly presented as a three dimensional photo, the camera tracking through the boys as they are caught static, in the moment.Brock has mainly used in-camera effects to create this sense of hyperreality, with the young actors freezing their bodies in a physical way rather than achieving the effect in post-production - identical twins were used to play the same characters, to bring the complex blocking to life. Imaginative art direction assists to make this work, such as the spray of a deodorant can and smoke from a cigarette created with cotton wool.Sam Fender's performance is the final piece of the jigsaw, walking through the same night-time streets, the unseen narrator of the boys' lives. In the Director's Cut we are featuring here, he is slightly more incidental to the action than in the official release. Ultimately, it is a charming and positive representation of youth and young male friendship.

London filmmaker Naomi Grant has shared a director’s cut of Infidel, the music video she directed for New York singer-songwriter Infinite Coles.The video was created through Three Minutes, Crack Magazine’s incubator scheme funding five music videos by young, unsigned directors.Shot in a warehouse setting, with well-crafted use of colour and art direction around the performance by Coles and a dancer, the Infidel music video is a poignant depiction of the journey to self-discovery and the confusion and isolation that come with it. Following its release last month, this is the Director’s Cut, which expands on Grant's vision.