Keaton Henson might be too shy to perform in public, but he's certainly building a collection of top videos. Joseph Mann's 'Small Hand's, David Wilson's 'You Don't Know How Lucky You Are' and the mightily sad 'Charon' have all rocked the emotional boat.

<p/> Keaton Henson might be too shy to perform in public, but he's certainly building a collection of top videos. Joseph Mann's <a href="http://www.promonews.tv/2012/03/21/keaton-henson-small-hands-by-joseph-mann/" target="_blank">'Small Hand's</a>, David Wilson's <a href="http://www.promonews.tv/2011/10/10/keaton-henson-you-dont-know-how-lucky-you-are-by-david-wilson/" target="_blank">'You Don't Know How Lucky You Are'</a> and the mightily sad <a href="http://www.promonews.tv/2011/03/07/keaton-henson%E2%80%99s-charon-by-david-wilson-john-malcolm-moore-and-keaton-henson/" target="_blank">'Charon'</a> have all rocked the emotional boat. This time Martyn Thomas directs for this Blair Witch venture. Wonderfully atmospheric/unnerving, with some top work going into the abandoned caravan found in the woods, it strikes a different chord (both visually and musically) for Keaton Henson's releases. All authentically in wobbly VHS of course. Martyn says: "Keaton approached me with the idea of shooting a found footage video on VHS and had a few sketches and notes of what he wanted. I then went away and wrote out something I felt could be believable enough but would still follow the track as best possible. "In the past I have seen what shooting on a HD format and dubbing to VHS turns out like so we were both very keen to shoot this straight to VHS. The camera is an early 90s VHS camera, a noisy, clunky piece of kit, that needed a lot of TLC on the day. I'm still surprised we got a shot of a deer at 6am with all the racket it was making. All of the glitches happened in camera, so although its re-edited, all the content came from the original recording. "Rather than setting up each shot and rolling camera etc, we set up a scenario and ran the camera through it as if being carried by an amateur film maker. These results were much more realistic, albeit terribly shot at times. It was important to Keaton that this felt real and lo fi, something risky and different, something I feel he has achieved with this track as it is quite off style for him. "While making this video I was very aware that in order to make this believable we needed to throw quite a few rules out of the window too. So on reflection I think together we have managed to create something we can call unique when comparing to our past works."

This time Martyn Thomas directs for this Blair Witch venture. Wonderfully atmospheric/unnerving, with some top work going into the abandoned caravan found in the woods, it strikes a different chord (both visually and musically) for Keaton Henson's releases. All authentically in wobbly VHS of course.

<p/> Keaton Henson might be too shy to perform in public, but he's certainly building a collection of top videos. Joseph Mann's <a href="http://www.promonews.tv/2012/03/21/keaton-henson-small-hands-by-joseph-mann/" target="_blank">'Small Hand's</a>, David Wilson's <a href="http://www.promonews.tv/2011/10/10/keaton-henson-you-dont-know-how-lucky-you-are-by-david-wilson/" target="_blank">'You Don't Know How Lucky You Are'</a> and the mightily sad <a href="http://www.promonews.tv/2011/03/07/keaton-henson%E2%80%99s-charon-by-david-wilson-john-malcolm-moore-and-keaton-henson/" target="_blank">'Charon'</a> have all rocked the emotional boat. This time Martyn Thomas directs for this Blair Witch venture. Wonderfully atmospheric/unnerving, with some top work going into the abandoned caravan found in the woods, it strikes a different chord (both visually and musically) for Keaton Henson's releases. All authentically in wobbly VHS of course. Martyn says: "Keaton approached me with the idea of shooting a found footage video on VHS and had a few sketches and notes of what he wanted. I then went away and wrote out something I felt could be believable enough but would still follow the track as best possible. "In the past I have seen what shooting on a HD format and dubbing to VHS turns out like so we were both very keen to shoot this straight to VHS. The camera is an early 90s VHS camera, a noisy, clunky piece of kit, that needed a lot of TLC on the day. I'm still surprised we got a shot of a deer at 6am with all the racket it was making. All of the glitches happened in camera, so although its re-edited, all the content came from the original recording. "Rather than setting up each shot and rolling camera etc, we set up a scenario and ran the camera through it as if being carried by an amateur film maker. These results were much more realistic, albeit terribly shot at times. It was important to Keaton that this felt real and lo fi, something risky and different, something I feel he has achieved with this track as it is quite off style for him. "While making this video I was very aware that in order to make this believable we needed to throw quite a few rules out of the window too. So on reflection I think together we have managed to create something we can call unique when comparing to our past works."

Martyn says: "Keaton approached me with the idea of shooting a found footage video on VHS and had a few sketches and notes of what he wanted. I then went away and wrote out something I felt could be believable enough but would still follow the track as best possible.

<p/> Keaton Henson might be too shy to perform in public, but he's certainly building a collection of top videos. Joseph Mann's <a href="http://www.promonews.tv/2012/03/21/keaton-henson-small-hands-by-joseph-mann/" target="_blank">'Small Hand's</a>, David Wilson's <a href="http://www.promonews.tv/2011/10/10/keaton-henson-you-dont-know-how-lucky-you-are-by-david-wilson/" target="_blank">'You Don't Know How Lucky You Are'</a> and the mightily sad <a href="http://www.promonews.tv/2011/03/07/keaton-henson%E2%80%99s-charon-by-david-wilson-john-malcolm-moore-and-keaton-henson/" target="_blank">'Charon'</a> have all rocked the emotional boat. This time Martyn Thomas directs for this Blair Witch venture. Wonderfully atmospheric/unnerving, with some top work going into the abandoned caravan found in the woods, it strikes a different chord (both visually and musically) for Keaton Henson's releases. All authentically in wobbly VHS of course. Martyn says: "Keaton approached me with the idea of shooting a found footage video on VHS and had a few sketches and notes of what he wanted. I then went away and wrote out something I felt could be believable enough but would still follow the track as best possible. "In the past I have seen what shooting on a HD format and dubbing to VHS turns out like so we were both very keen to shoot this straight to VHS. The camera is an early 90s VHS camera, a noisy, clunky piece of kit, that needed a lot of TLC on the day. I'm still surprised we got a shot of a deer at 6am with all the racket it was making. All of the glitches happened in camera, so although its re-edited, all the content came from the original recording. "Rather than setting up each shot and rolling camera etc, we set up a scenario and ran the camera through it as if being carried by an amateur film maker. These results were much more realistic, albeit terribly shot at times. It was important to Keaton that this felt real and lo fi, something risky and different, something I feel he has achieved with this track as it is quite off style for him. "While making this video I was very aware that in order to make this believable we needed to throw quite a few rules out of the window too. So on reflection I think together we have managed to create something we can call unique when comparing to our past works."

"In the past I have seen what shooting on a HD format and dubbing to VHS turns out like so we were both very keen to shoot this straight to VHS. The camera is an early 90s VHS camera, a noisy, clunky piece of kit, that needed a lot of TLC on the day. I'm still surprised we got a shot of a deer at 6am with all the racket it was making. All of the glitches happened in camera, so although its re-edited, all the content came from the original recording.

<p/> Keaton Henson might be too shy to perform in public, but he's certainly building a collection of top videos. Joseph Mann's <a href="http://www.promonews.tv/2012/03/21/keaton-henson-small-hands-by-joseph-mann/" target="_blank">'Small Hand's</a>, David Wilson's <a href="http://www.promonews.tv/2011/10/10/keaton-henson-you-dont-know-how-lucky-you-are-by-david-wilson/" target="_blank">'You Don't Know How Lucky You Are'</a> and the mightily sad <a href="http://www.promonews.tv/2011/03/07/keaton-henson%E2%80%99s-charon-by-david-wilson-john-malcolm-moore-and-keaton-henson/" target="_blank">'Charon'</a> have all rocked the emotional boat. This time Martyn Thomas directs for this Blair Witch venture. Wonderfully atmospheric/unnerving, with some top work going into the abandoned caravan found in the woods, it strikes a different chord (both visually and musically) for Keaton Henson's releases. All authentically in wobbly VHS of course. Martyn says: "Keaton approached me with the idea of shooting a found footage video on VHS and had a few sketches and notes of what he wanted. I then went away and wrote out something I felt could be believable enough but would still follow the track as best possible. "In the past I have seen what shooting on a HD format and dubbing to VHS turns out like so we were both very keen to shoot this straight to VHS. The camera is an early 90s VHS camera, a noisy, clunky piece of kit, that needed a lot of TLC on the day. I'm still surprised we got a shot of a deer at 6am with all the racket it was making. All of the glitches happened in camera, so although its re-edited, all the content came from the original recording. "Rather than setting up each shot and rolling camera etc, we set up a scenario and ran the camera through it as if being carried by an amateur film maker. These results were much more realistic, albeit terribly shot at times. It was important to Keaton that this felt real and lo fi, something risky and different, something I feel he has achieved with this track as it is quite off style for him. "While making this video I was very aware that in order to make this believable we needed to throw quite a few rules out of the window too. So on reflection I think together we have managed to create something we can call unique when comparing to our past works."

"Rather than setting up each shot and rolling camera etc, we set up a scenario and ran the camera through it as if being carried by an amateur film maker. These results were much more realistic, albeit terribly shot at times. It was important to Keaton that this felt real and lo fi, something risky and different, something I feel he has achieved with this track as it is quite off style for him.

<p/> Keaton Henson might be too shy to perform in public, but he's certainly building a collection of top videos. Joseph Mann's <a href="http://www.promonews.tv/2012/03/21/keaton-henson-small-hands-by-joseph-mann/" target="_blank">'Small Hand's</a>, David Wilson's <a href="http://www.promonews.tv/2011/10/10/keaton-henson-you-dont-know-how-lucky-you-are-by-david-wilson/" target="_blank">'You Don't Know How Lucky You Are'</a> and the mightily sad <a href="http://www.promonews.tv/2011/03/07/keaton-henson%E2%80%99s-charon-by-david-wilson-john-malcolm-moore-and-keaton-henson/" target="_blank">'Charon'</a> have all rocked the emotional boat. This time Martyn Thomas directs for this Blair Witch venture. Wonderfully atmospheric/unnerving, with some top work going into the abandoned caravan found in the woods, it strikes a different chord (both visually and musically) for Keaton Henson's releases. All authentically in wobbly VHS of course. Martyn says: "Keaton approached me with the idea of shooting a found footage video on VHS and had a few sketches and notes of what he wanted. I then went away and wrote out something I felt could be believable enough but would still follow the track as best possible. "In the past I have seen what shooting on a HD format and dubbing to VHS turns out like so we were both very keen to shoot this straight to VHS. The camera is an early 90s VHS camera, a noisy, clunky piece of kit, that needed a lot of TLC on the day. I'm still surprised we got a shot of a deer at 6am with all the racket it was making. All of the glitches happened in camera, so although its re-edited, all the content came from the original recording. "Rather than setting up each shot and rolling camera etc, we set up a scenario and ran the camera through it as if being carried by an amateur film maker. These results were much more realistic, albeit terribly shot at times. It was important to Keaton that this felt real and lo fi, something risky and different, something I feel he has achieved with this track as it is quite off style for him. "While making this video I was very aware that in order to make this believable we needed to throw quite a few rules out of the window too. So on reflection I think together we have managed to create something we can call unique when comparing to our past works."

"While making this video I was very aware that in order to make this believable we needed to throw quite a few rules out of the window too. So on reflection I think together we have managed to create something we can call unique when comparing to our past works."

<p/> Keaton Henson might be too shy to perform in public, but he's certainly building a collection of top videos. Joseph Mann's <a href="http://www.promonews.tv/2012/03/21/keaton-henson-small-hands-by-joseph-mann/" target="_blank">'Small Hand's</a>, David Wilson's <a href="http://www.promonews.tv/2011/10/10/keaton-henson-you-dont-know-how-lucky-you-are-by-david-wilson/" target="_blank">'You Don't Know How Lucky You Are'</a> and the mightily sad <a href="http://www.promonews.tv/2011/03/07/keaton-henson%E2%80%99s-charon-by-david-wilson-john-malcolm-moore-and-keaton-henson/" target="_blank">'Charon'</a> have all rocked the emotional boat. This time Martyn Thomas directs for this Blair Witch venture. Wonderfully atmospheric/unnerving, with some top work going into the abandoned caravan found in the woods, it strikes a different chord (both visually and musically) for Keaton Henson's releases. All authentically in wobbly VHS of course. Martyn says: "Keaton approached me with the idea of shooting a found footage video on VHS and had a few sketches and notes of what he wanted. I then went away and wrote out something I felt could be believable enough but would still follow the track as best possible. "In the past I have seen what shooting on a HD format and dubbing to VHS turns out like so we were both very keen to shoot this straight to VHS. The camera is an early 90s VHS camera, a noisy, clunky piece of kit, that needed a lot of TLC on the day. I'm still surprised we got a shot of a deer at 6am with all the racket it was making. All of the glitches happened in camera, so although its re-edited, all the content came from the original recording. "Rather than setting up each shot and rolling camera etc, we set up a scenario and ran the camera through it as if being carried by an amateur film maker. These results were much more realistic, albeit terribly shot at times. It was important to Keaton that this felt real and lo fi, something risky and different, something I feel he has achieved with this track as it is quite off style for him. "While making this video I was very aware that in order to make this believable we needed to throw quite a few rules out of the window too. So on reflection I think together we have managed to create something we can call unique when comparing to our past works."