Once again DOP’d by the amazing Ketil Dietrichson and shot on Red Epic with a 40mm Kowa anamorphic lens, this one shot video starring Roselyn Sanchez and Danny Trejo has got to be one of my favourite videos. I’m very aware that to the average viewer that they may feel that nothing really happens, but for me I wanted to make something more delicate than the normal music video and also allow the viewer time to think about the subtleties of the piece and to have the space to really take in all of the lyrics.

A lot of people have asked me what story I was tell by making this video, but I refuse to answer that question, as for me I wanted viewer to make up their own mind.

Once we had choreographed the move we got the take we wanted on the third attempt, which was lucky as some people had to catch early flights. A massive thank you to Roselyn and Danny who kindly gave their time to be in this, especially as both of them were so busy.

Enrique Iglesias’ ‘Turn The Night Up’ music video is the 7th Music Video I’ve worked on with him. Shot over two days the idea was to come up with some visuals, which would match the pace of the track as well as show Enrique in a slightly different light. We shot this video with very little prep time, so from the minute we got the call, it was all hands on deck to make the project happen and hit the videos release deadline. It’s fairly self explanatory what the video’s about, so I won’t go into any detail with regards to that. Shot on a Red Epic camera, due to it’s small size with Zeiss super speed lens for their weight and speed our grip made a nice body rig for Enrique to wear and for the camera to sit on. The rig protruded some 4 feet away from Enrique’s body and I would imagine was quite uncomfortable to wear.

The most fun part of the shoot for me was filming the car shots with Enrique driving. Even though these shot’s were very basically filmed with a simple car mount, watching Enrique pull donuts in the middle of the street in an Aston Martin was high entertaining. I’ll be the first to admit, Enrique really knows how to drive!

DOP’d by Ketil Dietrichson, who is always a pleasure to work with we had a great couple of days making this. Hope you enjoy it!

As with all Music Videos now days this video came very last minute and due to artists schedules we really didn’t have any time to plan or prepare. All we knew is that we could use the Stafford Brothers house in LA, we could throw a party and we had no time. Cool The only thing that changed from this ‘plan’ was that at 9pm the night before the shoot we decided to go to In and Out Burger and we hired a kangaroo, as you do.

On the shoot day everything pretty much went to plan. Christina arrived on time and was an absolute gem to work with. The Stafford Brothers really got involved, helping out behind the scenes and taking direction very well. Lil Wayne turned up late, in classic Hip-Hop fashion, which meant we had to change 2/3rds of the video. Wayne was also feeling under the weather so he could only give us two takes, which for a normal artist would have been devistating. But this is Lil Wayne, the total professional, so when he does his thing even if it’s just one time, he does his thing!

Shot on a Red Epic, a set of Kowa anamorphic lens, a big fat ring light, and the shakiest doorway dolly you’ve ever seen, no time and a kangaroo, we made a party video

Recently a track landed upon my desk that took me straight away. That was Mr Parker Ighile’s debut single ‘So Beautiful.’ Taking advantage of the fact I was in LA shooting another video, I headed to Laguna beach on one hours sleep with DOP Brian Vilim and a camera and in an afternoon we shot this little piece. Keeping it very very simple we used only natural light and some lovely flarey old Kowa anamorphic lens. I edited, graded and did all of the vfx on this video.

This was a fun little shoot, which literally involved me following new London based singer Arlissa on her trip to record with legendary New York rapper Nas. I shot this on the small Canon 7D camera with a couple of zoom lens, apart from the footage in the studio which I captured on a Red Epic. I wasn’t too concerned with the quality for this video, as for me it was about capturing the moment. And it goes without saying we didn’t have the budget for anything fancy

All this video was supposed to do was present Arlissa, as a natural, beautiful 19 year old girl with a incredible voice starting her exciting journey in the music business.

All I can say is watch out for her next Music Video as it is going to be on a whole another level! This girl is one to watch!

I have just finished directing a new video for Mexican singer Paulina Rubio called ‘Boys Will Be Boys.’ The premise for the video is that there is a house where all of these so called ‘boys’ go to play. This is Paulina’s house and we’re lead to believe that regardless of what does it for them they’re having fun. However half way through the video Paulina has a change of heart and all of her sexy helpers take their revenge of the gentlemen in the house. The narrative for the video was only supposed to be very lose, so don’t stress if you didn’t get it and the video is more about Paulina looking amazing and showing her in a different light to how we’ve seen her before. Paulina had a lot of energy on the day, which was great and coped really well with the last minute choreography and cold house we shot in.

We shot this on an Arri Alexa with Hawk V+ Anamorphics, DP’d by Ed Wild, who did an amazing job making it look luxurious and rich. I had someone build an assembly of the edit and then I spent a couple of days editing it myself, before it got graded by Denny Cooper @ Rushes.

Daley – Alone Together feat Marsha Ambrosius from Jacuzzi FILMS on Vimeo.

This week saw the release of singer Daley’s first video release, which myself and Kasra Pezeshki of Jacuzzi Films executively produced. We brought onboard Director Alex Haldi from New York to execute this nice little promo and he did a great job. We shot the video on Red MX with Lomo Anamorphic lenses, which coupled with the Black and White grade and blood red light leaks gave us a really nice styled look. DP’d by my good friend Alex Bergman and edited by his partner in crime Maxim Bohichik, this was a nice last minute collaborative project shot on a nice New York day.

ENRIQUE IGLESIAS – I LIKE HOW IT FEELS feat PITBULL from Jacuzzi FILMS on Vimeo.

‘I Like How It Feels’ was the fourth Music Video I have been involved with for Enrique Iglesias. Most of the footage for the video was not at first intended for this use and was just archive footage that we had been filming whilst travelling with Enrique and his team. However when hearing the track for the first time a montage style video seemed the perfect fit. I had great fun shooting this video as I personally got to film most of the footage, as opposed to using a cinematographer like I normally do. But it must be stated that we did use lots of other different camera operators along the way, so I can’t take all the credit, even executive producer Kasra Pezeshki got his hands dirty at some points! It was shot on a massive range of DSLR’s like Canon 7D’s, Canon 5D Mark II’s, the odd bit of RED One footage and a few snippets from some HD Broadcast cameras. Maxim Bohichik initially edited the video and then I spent a further 4 days tweaking and further spicing up the edit before having the whole video graded at Rushes in Soho.

Enrique Iglesias – Ayer from Jacuzzi FILMS on Vimeo.

As simple as it is, this maybe my favourite video I have ever shot! Big words I know

We shot Ayer with very little preparation, as it was a last minute decision whilst we were shooting Enrique Iglesias’ ‘Dirty Dancer’ video. Getting the go ahead only three days before shooting and whilst shooting another video made us we bring Director Evan Winter over from Canada to help ease the work load. Our original idea for the video was not intended to be a one shot video. In fact we shot the video so that it could have been a one shot, two shot or normal multiple shot video. Some of the other shots included a beautiful model running through a woodland, Enrique performing in an all white environment and lots of cut aways of fire and a room burning, but it was always my hope that we could make it a one shot video.

I edited the video, which was a lot harder than it sounds as it involved some very subtle time stretching in places to make sure everything was in time. Then we added some very gentle visual effects to help bring a touch of magic to the performance, but all of the fire is real.

It was shot on an Arri Alexa camera, shot in LA, DP’d by Thomas Kloss and graded by Dave Hussey.