The latest lyric video from animation studio LADYBUG is a motion graphics-based piece, making use of live action footage and hand-illustrated moments, for indie-pop outfit Oli Barton & The Movement.

Gemma Yin directs a mesmerising and innovative visual for the MGMT remix of Django Django's Spirals. For the video, Yin teamed up with creative developer Pierre Tardif, who used his own funky generative coding to create CG dreamscapes based on visual patterns including, yes, spirals. The code can also be rewritten to work as a live tool with performance optimisation and sound reactivity. Effortlessly trance-inducing, the coruscating lights and kaleidoscope of colours are an outstanding interpretation of the music. In pushing the boundaries of how we interact with new technology and techniques, Yin has created something universal and timeless.

The Queen of Korean pop is back with a melancholic montage video co-directed with kinotaku. You may not have heard of CL, but the twenty-eight year old has already reached the peak of Korean pop music as part of iconic girl group 2NE1. Following their disbandment, she released her first singles Hello Bitches and Lifted back in 2016 under Scooter Braun's label SB Projects. After being released from Korean label YG Entertainment last week, CL is ready to release music that had been kept in stalemate whilst the two companies worked out their differences. The first of these tracks is REWIND170205, the numbers representing the date it was recorded, acting as an audio diary of the mindframe the artist was in during the period. Wistful and reflective, the idea of rewinding life back to fix regrets and issues is represented through various layers of photographs and animation. Particular focus is made to include images of ex members of her group and friends within the industry, suggesting that CL isn't ready to give up her past, but can now look back on it with mature eyes and an excitement for her future as a solo artist. Flashing by at a quickfire pace, the visuals don't meditate on any image for too long, suggesting this is one last run through of old memories, regrets and snapshots of her career highlights. kinotaku's carefully considered design elements ensure that our eye follows the action in a certain way, giving the lo-fi graphics a narrative of their own within the abstract compilation.

A motion-capture performer strays too far from the axis of reality, in this visceral mind-bender for Ed Sheehan by Ryan Staake.Dancer Courtney Scarr treats us to a show-stopping routine in a MoCap studio, and on screen, her movements carry through to a shimmering, shifting CG universe. Travelling between these fantasies and the reality of the studio, Scarr assumes different identities - including 3D avatars of Ed Sheeran and Chance the Rapper. But when it’s time for her to hang up her bodysuit and call it a day, she finds it hard to leave this oscillating fantasy behind…The video is a remarkable achievement for Moving Picture Company, who were tasked with turning round the entire project in just three and a half weeks. MPC is obviously a global leader in VFX, but this required all kinds of ingenious improvisation to make it happen. For example, when Sheeran was not available for a photogrammetry, Dominic Alderson created his 3D avatar from his Madame Tussauds waxwork. More of this iintricate process is revealed in a Behind the Scenes video. While this is a masterclass in visual effects, a mention should go to Scarr and her choreographer Erin Murray. The confident swagger of their dance routine anchors this video in reality, and holds the audience's hand through the rapid shifts and glitches of this digital fantasia.

Atlanta-based Ethereal's trippy song Bump has been paired with this spookily realistic yet sporadically abstract and nightmarish video by Aaron Vinton and Pete Puskas, with 3D scanned characters that defy the rules of physics.With unsettling twitches, jolts and momentary disfigurements, the characters inhabit a smokey house that's been trashed with the classic remnants of the American house party: those infamous red plastic cups. We asked Aaron and Pete reveal some of their tricks to create this uncanny performance video.• Presumably you scanned the real performers and their environment? If so, how did you do this?Yes, exactly. We went to Atlanta and scanned the Awful Records crew on location at The Barrio (their recording studio and hangout). The scans of the artists and The Barrio were done using a Structure Sensor fitted onto an iPad, which simultaneously records depth and color data. Higher resolution facial scans were made using a Microsoft Kinect and then UV mapped with photos. The Kinect was also used for motion capture of Ethereal and Lord Narf performing the song. Once we had that motion data, we could rig the scanned models puppet-style to animate the artists throughout the video.• Were you using any new scanning techniques?The Structure Sensor has been around a couple years and people have been exploiting the Kinect’s technology for uses beyond its Xbox implementation since it came out in 2010. We really think this is the final days of having to hack together solutions for 3D capture. More and more options are coming up that promise to make 3D, and soon even 4D scanning (the addition of capturing 3D models sequentially over time), accessible to everyday users.• How did the concept for the video come about, and did the artist need much convincing that this would work for them?We’d initially reached out to Awful Records hoping to find something to work on together. The idea of using 3D scans as the backbone of a video had been on our minds, and sonically Bump was just a good fit. The raw quality of the scans and the track’s glitched out synth pads just felt like a natural pairing. Ethereal loved the idea — his album is called Final Fantasy after all.We ended up spending a long weekend in Atlanta and doing three videos with them. The other two videos born of this collaboration were directed by Ryan Staake, and were similarly unconventional and consciously unpolished. Father’s Who’s Gonna Get Fucked First was shot completely with an oral endoscope camera, while Keith Charles Spacebar’s Always 1 was an off-the-cuff 360 video made with a 10-camera GoPro rig tethered to their living room ceiling.• How much control did you have over the results of the scanning, in particular the abstract elements? Were they controlled or unexpected?We really wanted to embrace a run-and-gun approach to the whole thing. Awful Records themselves are incredibly prolific and their SoundCloud accounts are updated nearly daily. We wanted to emulate their unencumbered production methods and be true to the DIY spirit of the label, which meant letting the seams show and allowing the gritty artifacts of an imperfect scan or an awkward hiccup in a motion capture to play a starring role. The abstract landscapes with errant polygons, for instance, are actually the underside on a floor scan.• How long did the production take? Was it as time-consuming as it looks?Even with our quick and dirty approach, doing a fully 3D rendered video is indeed an involved process. From the day we took the scans to release was three months, though with a good many interruptions.

French animation crew Blackmeal have created a delightful, very emotional lyric video for Avicii's upbeat Waiting For Love, all about a boy and his dog, growing up in the shadow of war. The project came about when creative production agency Jelly London were approached by A Night Studio to animate a story which has strong echoes of Michael Morpurgo's anti-war classic War Horse. Then the talented Paris-based animation team pooled together their skills, employing a mix of traditional animation techniques and motion design to create the video.Featuring gorgeous scenes and transitions to accompany the stunning illustrative style of Guillame Singelin, the final product - animated in only 10 days - really pulls at the heartstrings.