My Journey in Music Videos: A Cinematic Exploration
As a cinematographer with a deep appreciation for music, my journey into music videos was a natural evolution of my creative pursuits. As a hobbyist musician who plays piano and guitar, I’ve always been fascinated by the way music and visuals can merge to create something powerful. This connection has driven me to approach music videos not just as visual accompaniments to songs but as opportunities to tell short narratives and push technical boundaries.
Humble Beginnings: DIY Creativity
My earliest experiences in music video production were built on collaboration with like-minded creatives. Without access to high-end studios or elaborate sets, we made do with what we had—bed sheets hung on living room walls, ceiling lights modified with DIY snoods, and practical lighting sources enhanced with colored gels and atmospheric haze. We experimented with shooting through wine glasses and torn diffusion gels, eager to see what unique visuals we could create.
BTS of Bredren & Philth ‘Ghost Palace’ shoot
One of my first music videos, for the Rotterdam-based drum and bass duo Bredren & Philth, was a turning point. Their track Ghost Palace had an eerie, haunting quality, which we visually represented using ghostly imagery and a hybrid approach of practical in-camera effects and post-production enhancements. That video went on to amass over 130,000 views on YouTube, proving that creativity and ingenuity could be just as impactful as big-budget productions.
The Power of Connections
At the time, I had no direct connection to Bredren & Philth, but my friend Yasha, who worked in Cardiff’s live music scene, helped facilitate the opportunity. That same creative circle led to another project, a video for Vestalus’s This is Real. Using the same DIY setup, we aimed for a more ethereal, dreamlike aesthetic, employing fabric veils, slow-motion, and optical distortions inspired by James Blake’s music videos. We experimented with lens whacking—hovering the lens over the mount to allow light leaks—and found new ways to create surreal visuals without relying heavily on post-production.
BTS of Vestalus ‘This is Real’ shoot
Pushing Technical Boundaries
As my experience grew, so did the ambition behind my music video projects. Through my brand ambassadorship with Formatt Hitech Cinema Filters, I was able to test new filters while shooting a music video for Newport-based artist Jack Perrett. We utilised Atlas Orion anamorphic lenses and experimented with Soft White, Soft Silver, and Soft Gold diffusion filters to create a distinct aesthetic. Since we only had a two day shoot, lighting became a crucial storytelling tool—we used color temperature shifts to imply different seasons, creating the illusion of time passing within a single day’s shoot.
Working with a small crew forced me to adapt quickly, refining my ability to light scenes at pace while trusting my camera department colleagues to handle the technical side. These learning experiences shaped my approach to future projects, ensuring that each shoot was an opportunity to evolve both creatively and technically.
Narrative-Driven Music Videos
Beyond visuals, I’ve always been drawn to music videos with a strong narrative. This became particularly evident when working with London-based band Sasha & The Shades. Their video for Smiles told the story of a magician’s assistant and featured intricate in-camera tricks, such as a cheated profile track through a wall to show both sides of a mirror. Inspired by Black Swan and Joker, we crafted surreal, cinematic moments using a 3-axis stabilizer on a Segway to achieve smooth motion and a dramatic 180-degree roll.
For their next video, That’s The Way That It Goes, we ventured into the landscapes of North Wales, drawing inspiration from Lost and creating an otherworldly atmosphere with a handcrafted woodland shelter. This shoot allowed me to experiment with the Lensbaby Composer II, which creates warped, dreamy optics that perfectly suited the video’s mystical tone. Practical smoke effects were later enhanced with digital particles in post-production, blending the best of both worlds.
The Evolution Continues
More recently, I had the chance to collaborate with director James Kennedy on Perfecto for Loco Ono. Shot in the stunning Tiger Moth pub, this video introduced new challenges and opportunities, including working with a Steadicam AR rig for full 360-degree camera rotations. With a limited budget, I relied on my Aputure lighting kit, controlled remotely via the Sidus Link App, to efficiently manage lighting setups. Despite these constraints, the dedication of the crew ensured that the final product exceeded expectations.
BTS of Loco Ono ‘Perfecto!’ music video: Steadicam Operator - Leighton Cox
Looking ahead, I’m eager to push my craft further, with aspirations to shoot a project on 16mm film—a step that excites me both technically and artistically. However, what I’ve learned through all these experiences is that no matter the budget, gear, or scale of a production, the key ingredient is always the passionate, hardworking people who bring a vision to life.
Crew photo of Loco Ono ‘Perfecto!’
I remain deeply grateful to every collaborator, friend, and creative mind I’ve worked with on this journey. Music videos continue to be a playground for experimentation, storytelling, and artistic growth, and I can’t wait to see where this path leads next.
