Edoard Le Scouarnec interprets Chalie Winston's pop-critique of technology's impact on human behaviour as a spiral of tech-chaos, in his imaginative video for Algorithm.As Winston sings 'I'll be your algorithm', a serene domestic scene between the singer and the female lead moving through a series of rotations, each one becoming more glitchy and broken. Winston's figure duplicates becoming a separate entity within this world, which repeats the same routine, and camera motion, with elements increasingly like a video game. Winston becomes omnipresent, but ignored by his partner. This increasingly busy setting is beset with disfunction.Le Scouarnec orchestrates the complicated choreography of the piece using motion control camera moves and elements of animation and VFX, to bring Winston's performance and the concept together with great skill."The idea here [was] to have Charlie incarnating the algorithm - so his girlfriend is in a relationship with the algorithm," says Le Scouarnec. "I [did not] want to show any visual material linked to social media. To me the interesting angle was to show the negative of the algorithm through the prism of the couple."Her man seems to forsee her needs. But slowly it seems not that natural. He starts to blink subtly. I also want[ed] to show that the algorithm always gives us what we want, [but] it can lead to monotony and loss of bearings."So the ideal life goes on... It is more and more monotone. Everyday life scenes are repeated. Charlie becomes more and more present. He duplicates himself in the shots. Until he takes more and more space. We can see the actors in the background performing the same dinner scene several times. They speak less and less..."Charlie is a witness of his own life scenes. Objects begin to flash, the frame is more and more saturated by the multiplicity of the scenes of the couple. Until the break of the song. In a glitch, everything disappears and is transposed to a full 3D universe where many Charlies are floating in the sky. We come back to reality when the woman is getting her head out of her phone."

KC Locke takes his motion-control ambitions to the next level, in the dreamy promo for Lola Young's So Sorry. In a conventional greasy spoon caff - the ominously-named Cruel Cafe - we find Lola Young playing a variety of different characters, on both sides of the counter, in an interweaving tapestry of narratives and slick camera moves. Technically advanced and head-spinningly complex, the video is anchored by the artist's down to earth performance style and authentic interpretation of each character she inhabits. It's another innovative promo for KC Locke and team, whose collaboration with Manchester-based G6 Moco has taken things up a notch once again."After experimenting with motion control in 2021 across various projects I had been waiting for the opportunity to use motion control with a full track system," explains Locke. "We designed this concept with that in mind and wanted to create a video which allowed our camera to move around a set freely while telling a visual story."I've wanted to work with Lola Young for a while now and this was the perfect project to link up on. Lola was a pleasure to create with and I feel like we made something great here. The song So Sorry had this feeling of different personalities [so] after pitching the concept of multiple Lolas in her own End Of The F*cking World-style cafe, we got to work on bringing this to life."Between Christmas and New Year's Eve when traveling to Thailand for our holiday, myself and Jenny O’Sullivan (production designer) spent many hours planning and discussing the creative and building a world for Lola. While I spent hours planning out each and every second of the motion control moments, Jenny spent equal time designing Cruel Cafe from the ground up while working remote with her art and set building teams."Once I had the whole video mapped out on paper, Andy Rider (G6 MOCO) then began to pre-vis the entire video for us. G6 MOCO’s dedication and attention to detail really helped in this process of really understanding what I had envisioned."The set construction came together beautifully along with the lighting direction by Stefan Yap (DOP) and Nick Platt (gaffer and Drop City owner) - the set really felt like a real cafe and gave the perfect backdrop for Lola to bring these characters to life."

Bristol-based director Matt Harris-Freeth delivers a playful and surreal one-shot video for Orlando Weeks’ Look Who’s Talking Now.Filled with visual trickery and floating red balls, the camera rotates around a room full of pillars, as multiple figures weave in and out of the space.Tied together with a timeless nostalgic aesthetic, the video is a love letter to the MTV era, and an exciting new direction for Orlando Weeks' aesthetic. Glitchy VFX add an extra layer of texture and experimentation, and elevate the whimsical nature of the piece.

The second of Anthony Dickenson's new videos is another example of the director's dedication to visual experimentation, and intimacy. In this case, for Finley Browne's Being Young Is Getting Old, he subverts the conventions surrounding the use of motion control cameras to explore the ups and downs of a relationship.With a couple, played by Sophie Emmett and Luke Booys, events are replayed and run simultaneously, often in a triptych-effect. The motion control and split screen is employed to run concurrent narratives, or repeated shots, and primarily a storytelling tool.There is a randomness at work with the use of the technology which suggests the effect of different viewpoints and the possible presence of an 'unreliable' narrator. It's an intriguing way to address the complex realities of a relationship which is possibly on its last legs.