Three track performance film with Shura shot on Blackmagic URSA.

Director: David Terranova
Producer, 1st AD: Aaron Z. Willson
Director of Photography: Spike Morris
Gaffer: Ruben Woodin-Dechamps
1st AC: Orlando Morris
Runner: Mel Giles

Working with David is always a treat. His expertise and creativity in post production makes it feel that the footage you offer him as a DP is simply a starting point - ingredients to a sorcerer.

Shot on location at RAF Cardington, a truly massive set of hangars originally built to house airships, our aim for the project was to showcase three tracks from London's Shura in one ten minute long film and combine the tracks as fluently as possible.

We had freedom to use as little or as much as we wanted from each of 2shy, Touch and Indecision, but the important thing for us was to keep it moving, flicking between stylised scenes, performance and actuality in order to keep the sequence moving over a long form music video. Anything went.


For me, this is the kind of grammar I aspire for in most of the work I'm part of. I even love the genre crossing format itself of combining three tracks into one video; teasing an acapella version of Touch for example before launching into a unique live recorded, sped up non-album version of the track. All the while maintaining music video imagery.

I'd love to take more credit, but truthfully it was actually working with David years ago in 2012 that influenced my taste towards this kind of cinema. Collaborating as an assistant editor with the New York artist in addition to my usual DP role, I realised that David approached so many things like colour grading differently that I had previously been taught had a 'wrong' and 'right' way to do. Pushing dials all the way to -100%. Making these highlights purple, that scene blue. Creativity rather than 'correction'.

At the time I imagined it was because his background is an artist rather than filmmaker - for me this explained the confidence to keep on experimenting to create a compelling visual, when I maybe felt we were straying into unknown territory, at risk of making a shot stand out from the sequence too much - and when I saw the merit, I realised right there and then to reassess all the other conceptions I had in my process.

I took enough onboard to be able to apply this thinking going forward with other clients, and I do consider this influence something I've developed on in my own way, but working together again was another learning experience despite all of that. Somehow I knew it would be. Hats off again, sir.

Check out more of David Terranova's work here.