Set design came from the ever awesome Blair Barnette, with Ross Anderson directing, and the excellent guys from Visualise providing the camera, DOP and postproduction (Visualise worked with me on my first every 360° shoot with Kyla La Grange too - I love how crisp and spot-on they get the end result).

Props to Gen Ingham who produced the whole thing. The series will run through 2018, watch this space for future installments...

The fine team at LoveLive put me a showreel together a while back. Posting it here now as a few people have been asking about the music concert work I've done, and there's no easier way than a showreel :)

I had a chat with the rather lovely Ade Adepitan for the BBC about clubbing in VR around our work with Dimitri Vegas & Like Mike in Ibiza and with Boiler Room.

His reactions here, I can confirm, are if anything toned down from the day! VR often makes people excited, but Ade was next level...

This was a fun one! Interactive venues are a concept that I've been bouncing around in my head for a while, and I finally got to make a version of come to life in VR. Boiler Room made this excellent film to tease the experience, which gives an atmospheric, almost dystopian peek into the project:

... and here's a 360 tease of some of the actual footage in 360:

The end experience is 15 minutes long, and you can choose to spend that time in 4 (or sometimes 5, there are easter eggs!) different spots or rooms. It's exclusive to Daydream right now, and was used to give a tentpole to Google's Daydream activity in Germany.

The whole project was hugely ambitious. Starting as a concept I developed for Inception with Boiler Room, we had this exciting idea and concept of how it would come together, which Google came on board for. So far, already exciting enough. We then brought on the director, Easton West and started bringing the whole scope together. In the end we had about 100 people in Arena Club in Berlin (that we hired for 2 days), creating a realtime clubbing experience across 4 angles, where every shot has a subtle narrative that you can follow through the rooms, or just release yourself into the excellent music (by Fjaak

One of the more interesting things we decided upon was to integrate our User Interface into the shoot... and so those glowing orbs you see dotted around the room - those are the the things you click on to move between spaces within the end experience. We elected on this both to make use of the Daydream's handheld controller, but also to try to integrate the UI more seamlessly into the end experience, rather than relying on overlaid CGI.

Big shout outs to: all the folk at Boiler Room, Google & Inception - and especially to the director, Easton West, and to the DOP, Oliver Cross, and Producer, Natalie Fox.

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The Dalí Theatre-Museum in Figueres was built and curated by the artist himself - the final great project of his life. The museum is full of oddities and surprises - a room in which the furnishings resolve into the face of Mae West when viewed from the right angle... moving mechanical pieces of art... cars in the rain (but where the rain is inside the car, not outside it) - a confounding of expectations and perspectives around every corner. Everything in the museum would warrant exploration and investigation.

Working with the museum, we chose to start with the classics, and to bring the 'Treasure Room' into virtual reality. The room houses some of Dalí's most famous paintings, including two that we chose to actually travel into - Leda Atomica, and Port Alguer.

Once you're in the room, you can choose any painting to hear more about it, and the two paintings  we chose have short films attached, in which you can travel through them, hearing about their history & composition​, and find a truly new perspective to view them from.
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We went through a huge variety of approaches on this project, and a little of everything we tried found its way into the final piece. Initially CGI wasn't to play a large role - but in the end product it's the linchpin of the piece. My favourite moments remain the transitions between the CGI exploration of the paintings, and the 360° video footage of the locations that inspired them. Seeing the painting dissolve into the actual landscape in virtual reality brings an extra level of empathy with the original painting - and feeling like you're there as it happens is playing on one of the key powers of VR.

​Dali himself played with stereoscopy and holograms, I'd love to know what he'd have done with VR had he had the opportunity to work with it.

Big shouts outs on this project to Thierry Pul, from Purple Pill VR, whose camera and expertise we used for the video shoot elements. Daniel Landau, our Creative Director at Inception, was responsible for turning the project from a fairly literal museum piece into the much more interesting and engaging content it became. And Effi Wizen and his team did an unbelievable job of taking us through the paintings.

​And if you ever happen to find yourself in Barcelona - do consider the trip out to Figueres. It's a lovely little town, and the museum is well worth the day trip, with high-speed trains making it very simple and speedy.

PS - if you do get to watch the full version, keep an ear out for the narrator. You might recognise his dulcet tones.

PPS - you can pick up the Inception app, with this and other experiences in it, for free at this link.

The brand: Kia. The concept: stage a show for a bunch of Clean Bandit fans that aren't expecting it. This came in from our American guys, who'd already done something brilliant with Weezer out in L.A., so the bar was set high.

We decided to create a space that echoed Clean Bandit's record, and to invite their fans down to film a portion of their next music video - making clear at all times that the band wouldn't be there. So when the band did turn up in the middle of the event (in a Kia, of course) and the proceed to play a song, the reaction was quite something.

The unstoppable Blair Barnette provided the art direction, whilst Kenny Cavey & Hannah Wainwright held the ship together as director and producer on the show. There were a few very late night wranglings working out just how we were going to find somewhere that we could drive a car into the middle of a crowd in a prismatic mirror jungle that we had to build from scratch.

At LoveLive we worked with HP (the tech company, not the sauce) on a whole series of concerts and musical activities. This was my last whilst at the helm at LoveLive, and a suitable final chapter.

It involved Star Wars (tick!), a remote controlled BB8 droid from Star Wars (tick!) and Arri cameras (tick!) - all in the name of getting backstage at a Years + Years show at Koko in London.

Our presenters (Ebony and Chai) nailed it, and the band were totally into it too. Beyond our wonderful team, I have to assume that Star Wars has that effect on a lot of people...

Directed & Exec Produced the livestream of Madonna from the Paris Olympia.

With 1.7M people tuning in for the live broadcast, this was one of the bigger ones. Plus, you know, it's Madonna.

It was great to work with something so iconic and choreographed - much more emphasis on symmetry and punching in on the straight-down-the-line.

The highly talented Danny Tull is to credit for the VOD edit, and timely cues for the live-direction...

Exec Produced the digital Brits in 2013 - providing sessions, formats & behind-the-scenes pieces from the first announcements of the critics' choice to the days following the show.

Our content pushed more than 30 million views on the Brits YouTube channel, and 88k subscribers, Plus, it was awesome.

My favourite features were the journeys to the awards - we followed along with 4 acts on the journey to the event. Rudimental & Paloma Faith vids below...
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The terrestrial broadcast of the awards rightly plays up front for everyone's attention, and features some brilliant moments - and we took and repackaged that stream as we went for exactly that reason. That didn't stop us from making sure our own coverage of the events and red carpet wasn;t equally as stellar, though. We has Zane Lowe giving us the backstage tour, and Paloma herself took a stint on the red carpet for us...
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It was a bigger job than the average: 40 crew on the day, live-feeds, videos being turned out at a rate of knots, and all directed brilliantly by Kenny Cavey, with the LoveLive social team making it the most successful digital Brits to-date.

With two days' notice, we pulled together both the official documentary of Rihanna's 777 Tour (7 Cities in 7 Days on a Boeing 777), and a livestream of her London Forum show. Hectic doesn't cover it.

The documentary went out to TX in both UK & USA, and was sold internationally by BBC Worldwide. We also cut a feature version, appropriately 77minutes long, which had a limited theatrical run and DVD.

Working with Rihanna's stage moves as a director is gold dust: unpredictable enough to keep your permanently on your toes, and constantly delivering the energy that keeps the edit snappy without over-cutting.