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."

It's eleven years since Sam Brown's first video for Adele. Finally, we have his second, and it was worth the wait.It was Brown's iconic video for Rolling In The Deep that kickstarted Adele's ascent to superstardom, of course. Now for Oh My God he has supercharged the elements that made that video a slow-burning masterpiece.Once again, a performance by Adele - now mature, so much more self-confident - is framed within a series of vignettes that represent the elements of the song. But this time these individual parts of the vision are brought together, all appearing within a single extraordinary camera movement.With the beautifully choreographed flow of characters and objects, the repetition of individuals on screen - primarily Adele herself - Brown has employed motion control camerawork at a level of sophistication and complexity that has been rarely achieved.But if this video is driven by it's concept, it never loses sight of the primary purpose - display the star quality of Adele. This is a stunning, virtuoso combination of artist performance with filmmaking skill and invention.

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.

KC Locke's third video this year for AJ Tracey follows the pattern of the first two for Anxious and Little More Love with some exceptional visual invention illustrating the London rapper's lyrical flow. This one is perhaps the most ingenious of the lot, bringing AJ together with T Pain at a summertime pool party - with the American rapper never leaving Atlanta. KC explains below how the miracle of motion control made it happen. But perhaps the most impressive thing is that this became a possibility and then devised and executed, once Covid restrictions meant T-Pain had to be filmed in the US.

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.

Mike Baldwin brings the party vibes in his high-energy promo for DJ/producer Bissett. Cleverly capturing a 360 degree snapshot of slick choreography via the use of a motion control rig, dancer Ellie is cloned across two striking timelines - one where she is alone in an industrial setting and the other at a neon-hued rave with a group of friends. It's a fun amalgamation of technology and tradition, and the addition of handheld setups and fun visual effects save the concept from becoming too repetitive. "I went round in circles trying to come up with a concept for this video - so that ended up being the idea," explains Baldwin. "I do love the maths and head-scratching involved with motion control shoots, and it's great seeing it all come together (and a relief that it works) in an edit."We lucked out with our main dancer, Ellie, who gave it her all on every take, again and again."

Charlie Sarsfield directs the third instalment of Apple Music's The Agenda Live, for "Queen of The South" Shaybo. In suitably grand surroundings, Shaybo blazes through a series of performance vignettes, captured through hypnotic motion control setups. Exuding opulence and luxury, the artist notes that no matter how rich she gets, she'll always take care of her community - and it's safe to say her stars are ascending at a meteoric rate. DoP Pieter Snyman's polished cinematography elevates the lavish vibes, whilst the coloured lighting and confident control of the camera ensures the project remains fresh and contemporary.

Potter Payper runs the game in this impressive promo for Topshottas Freestyle, directed by Darnell Depradine.Dripping in luxury styling and jewellery, the video opens with Payper standing tall above a makeshift factory of sorts, where dozens of workers are packaging CDs and various merchandise for distribution. Reaffirming his status as CEO and the only boss in his company, it's a huge flex that is backed up by a fresh, intricately executed concept, making use of a breathtaking location and slick camera moves - not to mention a confident and assured performance."I've always wanted to work with Potter so naturally there was pressure as I wanted to execute a groundbreaking visual and challenge myself as well as my team," says Darnell Depradine."The complexity of the idea brought a lot of challenges but with a great team, we were able to pull it off. Big thank you to Marisa Garner and my team Creativs-Label who really helped me create this moment."