Director

Jay Green

Crystal Fighters work alongside Jay Green to craft a captivating video for their eagerly awaited comeback.&nbsp;The video for Manifest&nbsp;unveils a mesmerizing tapestry of vibrant, psychedelic visuals, presented in an iPhone format.&nbsp;Shifting through uncanny AI shapes and textures, the video melts into a smorsgabord of colours and hypnotic patterns, giving the video a joyous - yet&nbsp;slightly disconcerting - vibe.&nbsp;

United Kingdom

Kiran Mandla

COMPULSORY

Leethal Reppin

Masha Thorpe

Sam Hooper

Orlando O’mahoney

Martin Perrin

Dan Levy

Rascal Post

John Moule

Dance

Crystal Fighters 'Manifest' by Jay Green

Crystal Fighters - Manifest (Official Music Video)

&nbsp;Jay Green takes us away from the dancefloor and into the nightclub toilets in his innovative&nbsp;promo for EYK.The video for Paper Aeroplanes was shot completely on an iPhone, giving&nbsp;Green the chance to capture some unusual angles and provide the foundation images for some intriguing&nbsp;VFX trickery.&nbsp;VFX artist Zach Beech took the&nbsp;3D scanned environments (NeRFs) captured on set&nbsp;and built them in Unreal Engine, to allow Green and the creative team the opportunity to move around the location&nbsp;in unique ways that would be near impossible - not to mention time consuming - if done on set.&nbsp;Overall, the resulting video is a hypnotic fever dream, that feels contemporary and euphoric, much like the accompanying music track.&nbsp;

Lee Fairweather

James Robertson

Kat Cattaneo

Sergio Jaen

Antonia Reed

Electronic

Everyone You Know 'Paper Aeroplanes' by Jay Green

Everyone You Know - Paper Aeroplanes (Official Video)

Sans Soucis is an omnipresent force in Jay Green's fantastic promo for I Know Your Present.&nbsp;With a high contrast, monochromatic aesthetic, we see the artist standing in the middle of bustling London streets, serving as the narrator of the passing crowds' lives.&nbsp;Utilising a mixed media approach - blending video and time lapse photography - the video is an arresting portrait of a fascinating artist, and the focus on the environment as well as the performance elevates it to a new level.&nbsp;

Beth Clifton

Mao Miyakoshi

Weini Haile

Sans Soucis 'I Know Your Present' by Jay Green

Sans Soucis - I Know Your Present

Popping out to the corner shop gets a magical makeover in Jay Green's video for London rapper Blanco's classy&nbsp;tribute to that ubiquitous small shop chain, Londis.Green sets up a constant rotating shot in the middle of a classic corner shop, with Blanco performing energetically to camera as other customers come in and out, run errands, and get into arguments with each other. The director makes the best out of the challenge of shooting in a small space, going between aisles and using time lapse effectively, to capture the natural flow of activity in the store, and the drama.Almost unbeknownst to them is Blanco is observing all the growing chaos,&nbsp;as&nbsp;revealed with a twist ending.&nbsp;Lit up with a colourful grade that looks good enough to eat, you will probably want to re-up on snacks in your local, after checking this out...[imgtoken data:1]&nbsp;

Anastasia Liasi

Ella Griffith

Sam Barnham

Tom Clapson

Carla Martins

Alex Magill

Lucy Ashmore

Nicki Tomic

Chey Antoine-Chagar

Blanco ‘Londis’ by Jay Green

Blanco - Londis (Official Music Video)

Jay Green goes next level with his trippy and very stylish vision for the first release from Nothing But Thieves new album.&nbsp;The video for Welcome To The DCC ambitiously sets out to give familiar references a new twist, and create a dazzling showcase for the band's new slick pop direction. Aesthetics of Blade Runner bleed&nbsp;into a Michael Mann-esque world where we follow characters around the dazzling DCC - an alluringly luxurious club which nonetheless may not be exactly what it seems.&nbsp;&nbsp;The viewer is put on alert from the first moments, as the video is framed as a near-future commercial (or content film) for the mysterious club:&nbsp;on-screen pop up ads appear throughout selling the lifestyle and environment of the DCC. All very intriguing and fun, yet with an undeniably&nbsp;sinister undertone.Jay Green has used all his hands-on experience of VFX as well as directing and editing to fulfill the concept. As a result the&nbsp;video is a pulsating, retrofuturistic&nbsp;tour de force. Great work, and a great platform for the big concept driving Nothing But Thieves's new music.[imgtoken data:1][imgtoken data:2]

Michael Lewin

Joe Ramsden

Sérgio Viamonte

Korsshan Schlauer

Marco Monedero

Catherine Hulme

Lee Naylor Vane

Kong Wako

Christina Campagna

Sarah Finney

Frances De Havas

Steph Griffith

Digital Orchard

Rock

Nothing But Thieves 'Welcome To The DCC' by Jay Green

Nothing But Thieves - Welcome to the DCC (Official Video)

After his UKMVA-nominated video for <a href="https://www.promonews.tv/videos/2022/03/15/fly-anakin-class-clown-jay-green/75397" target="_blank">Class Clown</a>, Jay Green reunites with Fly Anakin to direct&nbsp;a mesmerising promo for Blicky Bop.&nbsp;The video dives into a trippy montage of effervescent visuals, blending a sense of psychedelia with a strangely transcendent vibe. Taking inspiration from Frank Ocean’s Novacane, the viewer takes a cosmic trip with Anakin without ever leaving the confines of his room.Employing a range of techniques - including the 'flattened 360 camera' view that he pioneered in the Class Clown promo - Green makes the walls melt into one another, disorientating visuals and kaleidoscopic patterns to create an hallucinatory experience like no other.

Dan Horitz

Bobbie Notcutt

Jack Smith

Kosta Volkov

Alfie Peter

Otis Matthie

Hip Hop

Fly Anakin 'Blicky Bop' by Jay Green

Fly Anakin - Blicky Bop

As we near the end of a tumultuous year, we can look back on a number of videos that have addressed the social issues that affect modern society. But only a few have risen to the challenge of tackling the political turmoil that continues to&nbsp;engulf the UK. One that does so, with biting wit,&nbsp;is for London rapper Kam-Bu's acerbic critique on the ruling party of British politics: Eton Mess.&nbsp;In just two turbo-charged&nbsp;minutes, Jay Green's video dramatises the corruption of the British political class, personified by Richard Fibber, a Prime Minister who serves the interests of shady businessmen, but is challenged by angry everyman Kam-Bu and is undone by a fatal flaw - his nose, which has a Pinocchio-like tendency to grow when he tells a lie. Which is all the time.&nbsp;&nbsp;[vidtoken data:0]&nbsp;With a judicious use of VFX in addition to his dramatic setpieces, Jay Green has created a powerful&nbsp;modern political&nbsp;satire, with a hero we can all root for in Kam-Bu. So we spoke to Jay about how he managed this impressive feat,&nbsp;on a shoestring budget.&nbsp; &nbsp; &nbsp;How did the project start for you? Did the idea and the Fibber character come directly from the song, or were you influenced by the brief and/or a chat with Kam-Bu?JAY GREEN: Kam had DM’d me telling me his initial ideas of a visual depicting the failures of the Government. After a few phone calls and back and forth I came up with the idea of a Pinocchio story centred around a prime minister going up for re-election.[imgtoken data:1]You directed the impressive video for <a href="https://www.promonews.tv/videos/2021/08/27/kam-bu-ft-knucks-call-me-back-jay-green/72542" target="_blank">Kam-Bu’s Call Me Back</a> before this, which addresses political issues in a different way. This is more comedic and satirical – but also post-heavy. How much did it feel like breaking new ground for you?Yes I agree, this was a lot more narrative-driven than some of my previous work, which is something I want to move into more now that I feel I have things to say.It was made when the country was (and still is) in political turmoil. So how many Prime Ministers did we get through while you were making the video?From Kam’s first message to me to delivering the final video we went through all three&nbsp;Prime Ministers. Ha!<blockquote>There's a responsibility&nbsp;to truly believe in the message you're sending.</blockquote>Presumably the song was written and recorded when Boris Johnson was PM. Richard Fibber is not particularly Boris-like in appearance at least. Was that deliberate?I felt it was important to make Richard a more universal character than have him attached to any one person. In order to convey the message that this is a more systematic issue than individual.[imgtoken data:2]What were the big challenges of the shoot? Did you get everything you wanted?Greenscreen shoots are always challenging as it requires an extra level of direction to ensure that all the cast know exactly where they are and what they are doing. However it did allow us to move a lot faster and get a variety of locations/shots we needed to sell this story.So let’s talk about The Nose! Is it a combination of in-camera practical effects, and post FX? If so, how much was practical and how much was post?The noses ended up being about 75% CGI. We did have prosthetics but I felt that to truly get across the message we need to exaggerate and animate the nose a lot more than just prosthetics alone.How much time did you have to do the VFX and post work? What were the main challenges there?Because we were on a shoestring budget, we didn’t even have money for an art director. So a lot of the production design, props, etc were added digitally which meant mountains of VFX work for me after. Fortunately Kam and his team gave me the time I needed to get everything right. I had about 2 weeks total to finalise the edit and VFX.[imgtoken data:3]How did it feel to make something that has a political edge, reflecting the state of the nation in these strange times? And what did you learn or take away from making the video?I think whenever you make something with a political edge there is a certain responsibility to truly believe in the message you are sending. It was great to work with an artist like Kam-bu who I share a lot of the same viewpoints and values with.So the whole process felt so much more organic rather than performative - which is always a danger when creating reactionary/political commentary while it is still ongoing. And I learnt a lot of how to shape a narrative while retaining my style and to not be afraid to challenge authority with my work.• Jay Green is represented by COMPULSORY. Check out more of his work <a href="https://compulsory.film/director/jay-green" target="_blank">here</a>.

Jay Green on Kam-Bu's Eton Mess: "We went through three Prime Ministers during the making of the video."

Kam-BU - Eton Mess (Official Music Video)

Jay Green reunites with Kam-BU to deliver a biting and very timely state-of-the-nation satire to accompany the rapper's fierce polemic against the current Conservative government.&nbsp;Kam-BU's lyrics for Eton Mess speak about how current government legislation treats the working class population with contempt, and how the Tory party is making a mockery of the British political landscape. In the video, the artist is working in a corner shop, while the latest in a series of puppet prime ministers - Richard Fibber - is making false promises on TV.[imgtoken data:1]Inspired by the most famous of all puppets, Green has Fibber's nose get ever-larger and longer, Pinnochio-style, as he spins out more lies, and makes more backroom deals. Meanwhile Kam-BU is the disillusioned everyman who stands up to him and the government, taunting him online and off.&nbsp;And with an&nbsp;uncanny sense of art representing life, the lying&nbsp;and cheating soon catches up to the man in charge.With a captivating, fast-moving style, including superb use of both prosthetics, VFX and animation, Green packs a huge amount into the less-than- two minute running time - and sends a message of hope that good people can still bring bad people to account.&nbsp;&nbsp;

Sergio Jaeen

Kitt Sullivan

Tillie Robinson-Smith

Peter Agnelli

Grime

Kam-BU 'Eton Mess' by Jay Green

Jay Green directs a fun yet gritty lo-fi&nbsp;promo for Izzi De-Rosa, about the ups and downs of her relationship with a less-than-perfect boyfriend.&nbsp;From the POV of the artist's love interest, we see the pair run through London, hitting up the corner shop, the club and finally back home in the bedroom.&nbsp;With heavy saturated colours, dynamic camerawork and guerilla-style locations, it's a quick and dirty visual that perfectly fits the theme of the track.&nbsp;

Lilla Kaputa

Izzi De-Rosa 'love u in the morning' by Jay Green

Izzi De-Rosa - love u in the morning (Official Music Video)

In our&nbsp;new series talking to up-and-coming talent in the world of music videos, we chat with director Jay Green, digging deeper into a career that began long before he started being featured on Promonews...Jay Green started early on his journey to be a filmmaker. He had only just reached double figures when he started messing with cameras&nbsp;and editing software, making mini-horror films with his mates. "I come from Lincolnshire," he says. "There’s not a lot to do there - you have to create your own entertainment."When he moved closer to London, aged 20, things really started to come together. He connected with West London's Nine8 Collective in their early days ("when they only had a hundred plays on Soundcloud")&nbsp;and ended up creating a number&nbsp;of influential visuals for Nine8 mainstays Lava La Rue and Biig Piig.Jay's career has progressed in leaps and bounds since then&nbsp;and has really taken off since he signed to COMPULSORY last year. He gained a new following when he directed the video for&nbsp;Kam-Bu and Knucks' Call Me Back - the start of what he describes as his "monochrome trilogy" of videos, now completed with the&nbsp;just-released video for MiniKingz's New Skincare. Now his fascination with the possibilities of visual effects is taking him into new territory.We caught up with Jay to talk about his story so far...[vidtoken data:0]Biig Piig - 24K; Lava La Rue - LETRA"[In about 2016] I had a tiny music blog and would share the music coming out, through&nbsp;that I met Bexey who introduced me to the Nine8 Collective.&nbsp;I met Lava La Rue at one of her first parties she was throwing and told&nbsp;them I also did photography and videos. That's how it started.Then&nbsp;Aiwa - Lava La Rue - says: 'I'm going to Notting Hill Carnival, bring your camera and&nbsp;let's just shoot a music video.'&nbsp;So it was just me, her, some friends and the camera. Never expected it, but from that video Lava started to get a bit of buzz. The track and video was a bit different and a bit interesting as well, people started looking to see who made it.&nbsp;<blockquote>For 24K we had a budget of around £200...</blockquote>After that, I made more videos for Lava La Rue, and several for Biig Piig. The first one was for 24K - we had a budget of around £200. I remember&nbsp;we had to beg, steal and borrow most of the equipment. Some even came off the back of a truck - a Danny Boyle production some of the crew was working on at the time that we "borrowed" over the weekend.This is when I first saw the Nine8 collective really shine. They all came together to do the art direction on the video and took it to the next level. It was also my first of many wonderful collaborations with DOP Lorena Pages."[vidtoken data:1]Miles From Kinshasa - Limbo (Short Film) (2017)"Coming off the back of music videos for Lava, Biig Piig &amp; Louis Culture, Miles got in touch with me and said he wanted me to do a film for his latest project - Limbo. This was my first time working with a label and the budget at the time felt colossal, in reality it was tiny for the project we had planned. I fell in love with Miles' music and was excited by the prospect of doing not just a music video but a narrative film for his whole album. I went all out.The film took months of preparation, favours and luck to be pulled off. I could talk for hours about all the trials and tribulations of getting that film&nbsp;made, but I'm sure anyone reading this interview knows what goes into low budget music videos/films![vidtoken data:2]The main things I took away from making this film was cultivating trust with artists, I'm still grateful for the chance Viv (MFK) took on me and the trust we were able to build between each other to create this visual.&nbsp;This film was also one of my first major projects with my longstanding&nbsp;DOP Korsshan&nbsp;Schlauer. During that shoot we formed a kind of telepathy that we still have today. In many ways I really see this project as the birth of my style, cinematography &amp; editing-wise. I'm also very grateful to Nowness &amp; Boooooom&nbsp;for featuring that film and validating a young director's dream. The success and response to that film made me really push on and continue doing what I'm doing!"[vidtoken data:3]Kam-Bu ft Knucks - Call Me Back (2021)"I was listening to the track and also an Edward Snowden interview, where he was talking about mass surveillance. And then I read that London has the most [CCTV] cameras anywhere.Kam-Bu’s work is heavily politicised, with lots of talk about issues. This&nbsp;song is about phones, all about data management. I had the security tower image, and then the idea developed of everything being shot from the tower. There’s also the racial element too – the bias that comes with the surveillance, the stop-and-search culture.<blockquote>I’ve always edited my stuff, and the editing informs my directing so much.&nbsp;</blockquote>To shoot that we had an Alexa Mini with an&nbsp;Angenieux&nbsp;20-250 lens.&nbsp;We were always looking for a locations in Thamesmead that looked down on the action - and we used a drone as well.&nbsp;Before the shoot, I’d seen the David Hockney joined-up Polaroids. So that was the idea for the chorus - to combine different images. I’d not seen that done in a video before.I've always edited my stuff, and the editing informs my directing so much.&nbsp;And for me, directing is about knowing what you need for the edit. Being able to make the decisions on cutting is very important to me.&nbsp;I’m really against what I call ‘dump-truck’ directing.&nbsp;At the end of the day, directing is just championing good ideas."[vidtoken data:4]&nbsp;Nine8 - FVR 105 (2021)"This was a chance to reconnect with those guys. We'd all been our different ways in our careers and came back for that one. And they let me go wild with it - no notes or anything. That is their thing anyway -&nbsp;'let Jay do his thing'. There's been trust there from the beginning. It was not super-typical of my work up to that point, but it was a chance to pivot to where I want it to be.&nbsp;I'm now&nbsp;journeying into 3D, VFX, taking the videos to the next level, to somewhere new. I think VFX has had a reputation of being expensive and time-consuming - it's been a hard sell. But&nbsp;now the technology is more accessible. The barriers for entry are being removed - and it can almost be done in real time. You can almost arrive on set with the FX stuff already built. I think now there's an opportunity - especially music videos - to be harnessing that technology and using it."[vidtoken data:5]BXKS ft Oscar Worldpeace '321' (2021)"The videos I was known for before Kam-Bu were all very colourful. But after that one, I followed up it with BXKS. At this point I was thinking - what can I take away? What is the core of the idea? Let's just double-down on that.With BXKS it was about this endless sea of chainlink fences that she's surrounded by. I saw the chainlink fence as symbolizing the effect of algorithms - a box that she's trying to break out of. As an artist she is trying to do exactly that - doing something different within what could be described as a generic genre. And beyond that, she loves The Matrix, so we definitely needed to bring those vibes to it."&nbsp;[vidtoken data:6]B Live ft Becky Hill &amp; JME - Don't Know About You (2022)"That one was about showing what I can do in the context of mainstream pop. They wanted a single performance video, and the challenge was to&nbsp;turn that into a more interesting and dynamic video. That where the party cube idea came from - I could then make the one performance set-up as dynamic as possible.<blockquote>You can almost sketch things out in VFX faster than storyboarding.</blockquote>My work has been a lot about the use of strobe&nbsp;and editing, and I wanted to retain that, but without the cuts. This has no visible cuts in it. I want to make my videos feel infinite and limitless.I also think this&nbsp;shows how VFX can elevate things. The pre-viz really helped to get the full vibe of it, and I managed to do the pre-viz in a day, which shows how much faster it is to achieve now. You can almost&nbsp; sketch things out in VFX faster than storyboarding. And it gives you all the info that you're going to be working with on the day – including the lens, and the size of the studio."[vidtoken data:7]Fly Anakin - Class Clown (2022)"The way we achieved the look of the image in the video was essentially by abusing a&nbsp;360 camera. We're using part of that image&nbsp;and putting a frame around it. In addition, we're removing all the curvature of the image, and removing&nbsp;the distortion.I started playing around with 360 cameras when I was making a video for Biig Piig [for A World Without Snooze Vol 2].&nbsp;That’s when I realised you could use it like a real camera. It had that option.This&nbsp;shoot was tough. From hearing about the video to shooting it was just four days. But I knew when I heard the track I had to do it."[vidtoken data:8]Minikingz - New Skincare (2022)"With skincare, you're always looking in the mirror - it's this quite self-obsessed, egotistical thing that we all do.&nbsp;I thought it would be interesting to have the mirror as the video's centerpiece, and then having lots of like mirrored elements&nbsp;around that - like shooting through a mirror tube.&nbsp;So it was really just following that concept of the mirror: having Benji on one side as if he's at home on his own, and then on the other side, having Ragz and Oscar in a party scene, and Benji breaking through the mirror and joining them into the party.The opening shot is the most technically complex in the video, where&nbsp;we see Benjie, then his&nbsp;reflection in the mirror, come back to him, then&nbsp;come back to the mirror and it's now the party scene. Lucy Ashmore, our art director,&nbsp;fashioned up this amazing system where the mirror was cut into the middle of a flat, and it was&nbsp;double-sided. There were actually two sheets of mirror, one facing towards camera and one to Benji and they could be pulled out on strings or put back in. In that shot, Benjie is looking in a real mirror.&nbsp;We come back and then the mirror's been taken out, and there we have to run everyone in behind.Again, it was&nbsp;just distilling the video down to its core point, just keeping it focused on that mirror and then just the white and black worlds. It didn't need anything more because their performance was so strong. I didn't want to drown it in anything else."• Jay Green is represented for music videos, creative direction and commercials by COMPULSORY. For more information contact Lee Fairweather on lee@compulsoryviewing.co.uk.&nbsp;

The Story So Far... Jay Green, COMPULSORY

Biig Piig - 24K

LAVA LA RUE - LETRA (w/Tariq Disu)

Miles from Kinshasa - 'LIMBO' [Short Film]

KAM-BU - Call Me Back ft. Knucks (Official Music Video)

Nine8-Collective-'Fvr-105'-by-Jay-Green

BXKS - 321 feat. Oscar #Worldpeace (Official Video)

B Live ft. Becky Hill & JME - Don't Know About You (Official Video)

Fly Anakin - Class Clown (Official Video)

MINIKINGZ - NEW SKIN CARE (Ft. BenjiFlow, Ragz Originale & Oscar #Worldpeace)

Jay Green returns with&nbsp;a hypnotic video for MiniKingz' New Skin Care, playing with viewers'&nbsp;perceptions of what we see in a mirror.&nbsp;Beginning with a woman singing the hypnotic intro to the track, then Benjiflow from MiniKingz is introduced, appearing in a white background in a mirror frame - only to pan through the mirror and reveal him looking into another mirror. As the light strobe blinks, the screen then turns to dark mode; a rave appears in the reflection featuring the other Minikingz members, Ragz and Oscar Worldpeace.&nbsp;The performance-led video then continues this effective in-camera trickery, corutney of Green's clever negotiation of the space and the work of art director&nbsp;Lucy Ashmore. There are a series of skilful&nbsp;transitions, where the viewer&nbsp;is left guessing whether a 'mirror-image' is a reflection or not, and lines are repeatedly blurred of what the visuals appear to be.&nbsp;Ultimately this is a brilliant framing device to present the energetic charm and smooth flows of the trio. But once it ends you will be tempted to rewind it, to figure&nbsp;out how it was done...

Amal Solomons

Sam E.H. Hooper

Ada Wesolowska

Andrea Di Franco

Andi Chu

Black Kite Studios

MiniKingz 'New Skin Care' by Jay Green

Jay Green returns with a mind-bending promo for rising underground star Fly Anakin.&nbsp;The hypnotic performance video for Class Clown&nbsp;features swirling cameras, vibrant lights and otherworldly effects, following the artist as he drives around the city with a small crew late at night.&nbsp;The trippy aesthetic perfectly suits the innovative soundscapes in the track, and Anakin's potent delivery ties together the menagerie of conceptual imagery on-screen.&nbsp;Breathtaking&nbsp;work.&nbsp;

Vincent Miele

Timur Almazov

Fly Anakin 'Class Clown' by Jay Green 

Jay Green is back with visuals for&nbsp;old school banger Don't Know About You&nbsp;by B Live, featuring&nbsp;Becky Hill and JME.&nbsp;The promo makes effective use of Green's VFX skills, as the artists perform in swirling futuristic cubes, which bounce, rotate and distort at random.&nbsp;Like a pinball machine on acid, we switch between these setups in a warped, hyperreal fashion, whilst the overall aesthetic leans heavily into early Noughties retro-futurism.&nbsp;The switch-ups in colour palette&nbsp;and frantic camera movements alongside the energetic performances make this one to remember.&nbsp;&nbsp;

Henry Cristerna

Emily Sonnett

Chris Hay

Jack Power

Ben Reason

Robbie Smith

Mari Esa

Kingsley Giles

Wendy Turner

Thomas Kumeling

CHEAT

Garage

B Live ft Becky Hill & JME 'Don't Know About You' by Jay Green

Jay Green has followed up his UKMVA-nominated video for&nbsp;Kam-Bu and Knucks with another well-crafted piece in gritty black and white, this time for&nbsp;BXKS and Oscar Worldpeace - exhibiting their mic skills entirely from within a ring-fenced cage-like space.&nbsp;We begin with an omnipresent swirling motion camera and from then on the chaos is unleashed, weaving out of smooth crash zooms and flashing lights while BXKS and Oscarworldpeace perform effortlessly with relentless charm and confidence.Green uses the limitations of the studio setting to his advantage, and plays to his strengths in creating a strong mood and presence through visual style. It's a grimy yet slick world that has both kinetic energy and grittiness in its visuals and landscape. Terrific stuff.

Nick Fore

Peter Ford

Jai Chayne

Celina Bassili

BXKS ft Oscar Worldpeace '3,2,1' by Jay Green

COMPULSORY have announced that&nbsp;director Jay Green has joined the roster for Music Video, Commercial and Creative Direction representation.&nbsp;Jay joins COMPULSORY having already directed music videos through the production company, including <a href="https://www.promonews.tv/videos/2021/08/27/kam-bu-ft-knucks-call-me-back-jay-green/72542">Kam-Bu's Call Me Back</a>&nbsp;- which was recently nominated for a UKMVA - and the BXKS x Oscar #Worldpeace track 3,2,1&nbsp;which was released last week.&nbsp;Jay has made a name for himself in the underground scene by working with artists such Ragz Originale, Knucks and the Nine8 Collective, mainly members Lava La Rue and Biig Piig.Head of Music/EP Kiran Mandla and&nbsp;Music Rep Lee Fairweather will be working closely together with Jay to craft his next slate of music videos.Kiran Mandla, head of Music at COMPULSORY comments: “We’re so excited to welcome Jay to the family. He’s proved to be a relentless force in recent videos with a multidisciplinary approach to his work and ability to execute, no matter how tough the challenge. Jay’s craft in post production has elevated his work more so with an eye for detail and perfection. We’ve loved working with him to realise his vision."Jay Green comments: “COMPULSORY embodies so much of what I love in this industry, being able to work with a team who have such a positive and ‘can do’ approach to each project. With the wealth of new talent they represent and their consistency in releasing exciting boundary breaking videos, I’m very happy to be joining them on the next stage of my journey as a director.”

COMPULSORY sign Jay Green for Music Videos, Commercial and Creative Direction.

Jay Green creates a hard-hitting video about the reality of surveillance in London in the new video for Kam-Bu featuring Knucks in Call Me Back.Kam-Bu and Knucks are tired of being relentlessly watched and followed in the gripping visuals for their new collaboration, which sees the two rappers trade verses back and forth, weaving in and out of flows seamlessly with effortless chemistry and impact.[imgtoken data:1]Green does a superb job in establishing the atmosphere of paranoia in which they operate,&nbsp;emphasised by the black and white colours and docu-style camera work.And the kinetic editing, and use of split-screen, spurs a sense of disillusionment focusing on lingering shadows and sudden movement. This is very good indeed.

Oliver Waters

Ernest Tu

Kosta Vokov

Connor Gaffe Williams

Olivia West

Kam-Bu ft Knucks 'Call Me Back' by Jay Green

Lava, Bone Slim and LorenzoRSV&nbsp;- from the Nine8 collective - get caught in a vibrant mess of digital nostalgia, in Jay Green's promo for FVR 105.&nbsp;On a quest to find digital love in a virutal reality rave, the group's mission turns sour when the simulation they are in begins to glitch.&nbsp;Paying homage to hit 'em up video games, early&nbsp;VR and Windows XP, the video is a tongue-in-cheek reflection of&nbsp;an early Noughties zeitgeist, packed full of iconography and understated performance setups.&nbsp;

Joseph Nowell

Songular

Experimental

Nine8 Collective 'FVR 105' by Jay Green

Charlotte Toon explores late night missed calls&nbsp;in the sleek and sensual video for Ragz Originale's 4am.&nbsp;Set in a world which reflects the smooth and sexy vibes of the track, we&nbsp;see Ragz at a party, and his love interest coming home after an evening out, both with their minds elsewhere. The visual nods to&nbsp;the glossy feelgood era of the Nineties, with a contemporary splash of neon and tropical-themed decor.&nbsp;DoP Karol Jurga&nbsp;focuses on slow and deliberate camera movement to align with the concept, whilst utilising blue and orange tones to give each set-up a distinctive aesthetic and feel.&nbsp;

Jay Green

Director

1 news featuring Jay Green

2 interviews featuring Jay Green

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