Felix Brady returns to the world of music videos with a groundbreaking tour de force of action and VFX for Greentea Peng.The video for Look To Him is an exploration of originality, creativity, and shaping your own reality, as the promo takes audiences on a journey that defies what we would consider possible - even in the world of movie-making.As Aria Wells, aka Greentea Peng, performs Look To Him and acts as the omniscient narrator from afar, an action sequence unfolds upon the roof of a speeding car between two men - part-fight, part-dance - with the camera as an integral participant to the action, constantly circling the performers. The spectacular action sequences were achieved by an innovative application of technology by Felix Brady - who's last foray into music video was the brilliant Greentea Peng video for Hu-Man in 2020. Since then, he has been honing his filmmaking craft making commercials, and it shows.To achieve a 360 degree shot of choreography atop of a moving car on a limited budget required a highly ambitious technical approach that had not been done before - involving precise 3D mapping, cars on rotating turntables, custom algorithms, and virtual environments supplied by the gaming giant EPIC Games.Brady's ingenious solution was to 'create' an orbiting camera move by spinning the vehicle on a platform inside an LED volume - on the largest LED stage in Europe, in Latvia. Virtual backgrounds, supplied by EPIC Games, originally created for the videogame The Matrix Awakens, were then synced to match the car’s rotation.In fact, Brady utilized a never-done-before filming technique involving precise 3D mapping and bespoke algorithms to offset in-camera tilt, jib, and pan, to track with the animated backgrounds. The result is a dizzying, dazzling display, where fantasy blockbuster action meets a playfulness inspired by the music of Greentea Peng.“I felt equally as passionate about the creative and the song as I did with the technical aspects," says Brady. "The video is really all about source energy and believing you can tap into it at any time and so you don't need to look to others for that.“The car is the vessel for this idea. It’s the analogy for life being relentless and ever moving, it’s this foundational thing we can’t jump off. The characters atop the car are representative of the flamboyant side and the serious side, the transience of life and all its intertwined conflicts."Felix adds, “I couldn't be happier with the outcome. Especially considering the budget we had to work with. I’m now incredibly passionate about pushing the limits of LED volumes. It’s the playground of the future.”

Saorla Houston helms a terrific vehicle for FLO, who fly off to Greece for a holiday, going 'all in' for Summertime.This video for a new girl group with the classic R&B sound, has the girls shooting from mini-cams in addition to the key camera, radiating energy and happy vibes. It's well executed, and really feels that FLO had a fun time making it."We shot this video over two days in Greece in mid-July," explains Houston. "The video was built from the girls' personal perspectives of their holiday; each of them - Stella, Renée and Jorja - had their own cameras to shoot on. It was a chance for them to take control of the camera and be their own directors."Their personal videos were the base of the edit, which was accompanied by hi-res footage shot on Alexa Mini which showcased their interactions with each other and their performances in six different locations around Athens - a hotel, bar, beach front restaurant, villa with a pool, car and a boat."My aim with this video was to showcase their friendships, energy and individual personalities, while giving the audience insider access to the world of FLO."

Chrissi's marvellous takedown of an unworthy lover in Lipo gets a charming and witty treatment by Denisha Anderson.Lipo is Chrissi’s ode to body positivity, self-love and the trials of getting to the point where you believe you deserve it. And although the subject is serious she treats it in a smooth, laidback fashion, addressing her ex with an 'this is your problem, not mine' attitude. That makes it all the more impactful.Anderson gets the mood exactly right, by putting Chrissi in a naturalistic situation with her friends, echoing some classic R&B videos along the way. Chrissi and her pals are enjoying each other's company, and aided by the choreography by Claudia Lois, and some fun set-ups, this is playful as it spreads it's serious message.“When I initially heard the song, I was gassed at the bar 'Fxck your feelings'," says Anderson. "I really felt that, and knew I had to create something which was full of energy yet super empowering."Drawing inspiration from Destiny’s Child’s Bootylicious and Janet Jackson’s That’s The Way Love Goes, I wanted a similar home environment, where we see Chrissi and her friends vibing and enjoying each other’s company, dissecting F-Boys, and saying goodbye to that energy and hello to an evolved version of self."Utilising a variety of set-ups and working with a choreographer for the first time, I think we pulled it all together with smiles, energy and charisma to make a film I am really proud of.”

Filmawi has directed a beautiful conceptual piece for Jvck James's soulful Hennessy Tears.Starting with a flock of birds flying through a clear blue sky, the camera pans to Jvck James, walking on desert-like ground, and performing the song about being overwhelmed by love with real feeling. The camera moves ahead of him, and as Jvck addresses the lens for the first time, stardust particles begin to flow from the singer.The particles coming from Jvck are echoed by the birds above, and then Filmawi adds another surprising element - the camera is a the person that Jvck is singing to. That adds another layer to the already captivating song and video, elevating the theme of all-encompassing love.

London singer/producer Miink's exploration of Christianity's role in human suffering gets a richly atmospheric treatment in Elliott Power's stunning visual for Paper Doll.The song comes from Miink's forthcoming second album Notice Me, an ambitious and commendable work that addresses the impact on uprooted culutres of the Atlantic slave trade. In Paper Doll he throws a spotlight upon how colonizers used Christianity, and the concept of heaven and hell, as a tool to prevent slaves from committing suicide on the long journey to America.Power's striking video alludes to the themes in the song, setting Miink's performances against elements of Christian iconography.As many enslaved people were forced to practice their true beliefs in secret, and the video for Paper Doll reflects this forced secrecy through a world shown entirely in darkness, in beautifully composed scenes illuminated by points of light.With cinematography by Pau Muñoz and Josep Pardo, Power sets Miink against the forces of religion, on the brink of the underworld, and creates a richly evocative piece of work.

Directing duo rubberband. have created a mesmerising film for the return of Steve Lacy, using minimalism to draw the viewer into their distinctive take on the horror genre.As the camera does a 360-degree pan within a fenced-off area in a factory setting, Lacey comes in and out of shot to perform the Latin-flavoured Mercury. This motion control-driven device to frame the performance is the core of the video, but then rubberband. begin to disrupt our expectations.Halfway through the piece, an animal briefly appears walking outside the fence. The tone has now unexpectedly shifted, and the viewer is suddenly aware of a likely interaction between this creature and Lacy. Tension begins to crank up - confirmed by a flash of fur in front of the camera shortly afterwards. From then on Lacy is as much off screen as on-screen, and when he appears, his clothes are increasingly shredded.Shot by award winning cinematographer Evan Profosky on 35mm film, the video takes far less than its brief two minute and 30 second runtime to create a sense of sinister foreboding and creeping horror. The concept works to apply the classic horror formula, that what you (mostly) cannot see is more terrifying. It also captures the increasingly hard-edged energy of Mercury, the first of highly anticipated new material from Lacy.

Lava La Rue heads out for a trippy night out in London with her friends, in Paul Herrmann's absorbing video for the blissful High Fidelity.The Berlin-based director creates a colourful, soulful mood, populated by a riveting cast of supporting characters, that is both super-cool and super-lovely. And that is very much in keeping with the style and vibe of Lava and her associate artists in the Nine8 Collective in the past few years.There's even a sweet cameo by fellow Nine8 creative Biig Piig, sultrily appearing on TV screens during the course of this memorable, mesmerizing evening.

Jordan Rossi takes Craig David into a colourful surrealist adventure for his video for My Heart's Been Waiting For You.Craig performs this garage-influenced club hit in a serious of increasingly surreal settings, with outer space encroaching into modern-day London. And periodically everything then suddenly ramps up into another dazzling visual dimension."The brief was wide open," explains Rossi. "All that was stated was they wanted a green screen video that had the vibe of Craig's tour footage. I took that and ran with it, and wanted to craft a luminous surrealist fantasy that was equal parts Dali with Craig's R&B-pop aesthetic."Craig was the best collaborator a director could ask for. Hugely respectful of the art but always wanted to push the boundaries creatively. It meant that what was a green screen video became a smash of reality and illusion in the most entrancing of ways. The final result is a fantasia of colour and other worldly scenarios. All seemingly familiar but with a twist."