us Anchous is a creative post-production agency working across commercials, fashion films, narratives and music videos. ‍ We work with flawless precision.

Anchous

Post production company

Jake Erland directs an intense promo for&nbsp;Beabadoobee, taking her message straight into a constantly moving camera.&nbsp;The video for Sun Has Set is presented in a frantic POV perspective,&nbsp;the camera being the person in a relentless conversation with Bea. In fact, she is so forceful, that the POV is always trying to take evasive action, even leaping from a motel balcony, taking refuge&nbsp;in a car (while she smashes the windscreen) and&nbsp;running away to open countryside when she storms out of a police car&nbsp;for another confrontation.It's a cool way to visualise&nbsp;the rollercoaster emotions of a relationship through action-packed, horror-tinged vignettes. Bea is great in this, radiating charisma as she goes on the warpath - and camera operator Austin Phillips does a sterling job, with Erland also acting as DoP -&nbsp;in a concept that&nbsp;pushes the right buttons:&nbsp;inspired, gripping and nostalgic.[imgtoken data:1]&nbsp;

United Kingdom

Jake Erland

Park Pictures

Shift

Alternative Pop

Indie

Beabadoobee 'Sun Has Set' by Jake Erland

Beabadoobee - Sun Has Set (Official Music Video)

The second of a trio of videos for Jazzy by multidisciplinary artist-turned-director Erik He finds the Irish DJ/producer in a cool bar crowded with invisible people - apart from one furious-looking older lady - and then on a dancefloor, packed with real people.Following on from the video for On A Wave (Jazzy's collab with East End Dubs), Erik He's&nbsp;video for Invisible (her collab with Chris Lorenzo) has similarly stylish, designer-led aesthetic with an&nbsp;additional side order of surrealism and subtle VFX - but this one brings Jazzy more centre-stage, to deliver her vocal performance.The&nbsp;end result looks absolutely great and demands you sit up and take notice of both the artist and the director.With a background in art practice spanning&nbsp;sculpture, performance and moving image, under He's direction&nbsp;ordinary social spaces become subtly uncanny, as anonymous, headless figures populate the frame, transforming familiar environments into psychological landscapes.Rather than relying on spectacle, restrained visual effects, atmospheric lighting, and carefully composed imagery create a world that reflects the song's emotional undercurrent, balancing performance with understated surrealism.It's another example of the skill and instinct that the director, who recently signed to Partizan, brings to the medium. One aspect is in providing an intriguing&nbsp;showcase for the artist and her music, giving her every chance&nbsp;to make a big step forward. And as there is a third one on its way, for Jazzy's with Calvin Harris, that next step seems virtually guaranteed.&nbsp;&nbsp;"Working with Jazzy and her team has been incredibly rewarding," he says about the collaboration.&nbsp;"Every project presented a different creative challenge, but there was always a shared willingness to experiment and find the best solution. Seeing that creative relationship evolve across three very different films has been one of the most rewarding parts of the process."[imgtoken data:1]

Ireland

Erik He

Partizan

Mouthpiece

Dance

Electronic

Jazzy ft Chris Lorenzo 'Invisible' by Erik He

Jazzy & Chris Lorenzo - Invisible

Jake Erland joins forces with co-director ABOVEGROUND for a richly cinematic new music video for beabadoobee's team-up with American alt-rock band The Marías.The video for All I Did Was Dream Of You showcases Bea moving through a series of dreamlike vignettes in a variety of wintry&nbsp;settings, culminating in&nbsp;a spectacular moment&nbsp;of her car flipping and exploding into flames.&nbsp;[imgtoken data:1]Shot in sub-zero weather conditions in Vilnius, Lithuania, the story unfolds&nbsp;across a frozen lake off a decommissioned nuclear power plant, snow-laden forests, a tiny bar on the outskirts of town, and a local produce market. The pivotal scene, when the car flips over and explodes, was captured entirely in-camera.This is the sixth music video collaboration between&nbsp;Bea and Jake Erland, following the videos created for the 2024 album This Is How Tomorrow Moves. It also represents a radical departure in cinematic ambition in their creative partnership. ABOVEGROUND, who has previously directed several videos in Lithuania, becomes&nbsp;a valuable addition to the team with this one.An exciting new beabadoobee campaign is under way with a bang.

ABOVEGROUND

Rock

Alt Rock

beabadoobee ft The Marías ‘All I Did Was Dream Of You’ by Jake Erland & ABOVEGROUND

beabadoobee - All I Did Was Dream Of You (Official Video) ft. The Marías

Charles Gall directs a heartfelt labour of love for Scottish indie band The Snuts featuring frontman Jack Cochrane with scarecrows, bees and children waving flags in a deserted dreamscape.&nbsp;Filmed at Tentsmuir Beach on the east coast of Scotland&nbsp;and rural Cambridgeshire, the video for Summer Rain - the band's return to action since their 2024 album Millenials -&nbsp;is a gently surreal daydream, switching between abstract, pastel-hued shots and frantic monochrome. And Cochrane's compelling performance is the thread that holds&nbsp;the visual tapestry&nbsp;together.&nbsp;"Jack (the lead singer) brought me this idea built around fear, bees, scarecrows, and the need to run — run through something, not away from it," explains Gall.&nbsp;"The whole track felt like catharsis. Working through a shitty chapter and coming out the other side.[imgtoken data:1]"So we built these haunting figures, then let kids dismantle them. Turning fear into flags - into something hopeful. A symbol of learning, perseverance, and carrying what you’ve been through forward."The kids were all cast locally by me in my village and their first time in front of the camera. I directed, produced, self shot and edited this with help of Tom Kitto operating the running scenes on a gimbal. The whole thing was shot on a simple FX3 rig."We shot in an ancient Scottish woodland and nearby beach, a bee keepers in Dumfermline and the flag scenes shot by the river Cam five miles north of Cambridge."

Charles Gall

The Snuts 'Summer Rain' by Charles Gall 

The-Snuts-'Summer-Rain'-by-Charles-Gall-

<h3>It's been one of the success stories of the year. The Jake Erland-directed videos for Olivia Dean have helped propel the singer to new heights. Now we can find out how VFX work at post house Anchous assisted the in-camera ingenuity in three videos, and contributed to their impact - courtesy of Before &amp; After comparison reels.&nbsp;</h3>London-based Anchous worked with Jake Erland on three of his videos for Olivia Dean this year - Lady Lady, the smash hit Man I Need and So Easy (To Fall In Love) - and the idea in each one was to make the ambitious 'one-shot'-style structure as&nbsp;seamless and natural as possible.So that Olivia appeared to wander effortlessly through choreographed scenes of backstage activity or rehearsals in a theatrical&nbsp;performance, or a Hollywood musical, the VFX work had to be invisible."Overall, the biggest challenge was maintaining the organic, non-artificial feeling of a true one-shot music video - keeping the illusion that everything was captured fully in-camera," says Arsenii Pronkin, Anchous founder, EP and senior editor. He also reveals that the&nbsp;essential method was to work with two different takes of the same tracking shot to craft the 'perfect' combination of both.&nbsp;"Matching motion between the two takes was tricky, and in the moments where that wasn’t possible, we had to stitch together transitions from five or six different shots while still making the final piece feel completely seamless. But thankfully Jake and Rowan [Mackintosh King, the producer]&nbsp;did their best with the shots and pre-planning the transitions. So it was a very smooth process."<blockquote>Matching motion between two takes was tricky...&nbsp;where that wasn’t possible, we had to stitch together transitions from five or six different shots.</blockquote>In fact, you&nbsp;can find out how good the clean-up work has been in the three videos by viewing the Before &amp; After comparison reels here - accompanied by Arsenii Pronkin's words on the specific challenges posed by each video.Lady Lady[vidtoken data:0]"The toughest part was definitely the floor transition. We didn’t want to rely on a fade-in/fade-out, so we used multiple takes to capture as much of the different floor positions and reflections to make the transition feel natural."Man I Need[vidtoken data:1]"Here it was all about the masked transitions, which were quite complex. They weren’t the typical “hide it behind someone’s back” or “person passes in front of camera” type of tricks - these ones required much more precise planning and execution with the matching position."So Easy (To Fall In Love)[vidtoken data:2]"The challenge was the final shot, where we had to replace almost every lightning flare with a larger one. The actual replacement isn’t hard, but doing it across a continuous 40-second shot - tracking every light stomp and making sure all the flares stay consistent in size."Pronkin points out that a different skill set is required&nbsp;for using VFX to clean up live action shots, rather than creating 'visible' VFX."Some of the tools are the same," he says. "But you just need to be a lot more efficient with&nbsp;being able to make&nbsp;two or three options with the&nbsp;very slight touches of changes in the transition."No doubt that the cleanup is easier than full CG. But tracking a 40–50 second shot and then blending it into another 30-40 second shot is still no joke, ha ha."But Pronkin adds that Anchous have also worked with Jake Erland on another project which did require decidely more visible VFX work: the <a href="https://www.promonews.tv/videos/2025/04/03/joy-crookes-i-know-youd-kill-jake-erland/90585" target="_blank">Joy Crookes' video for I Know You'd Kill</a>."We had some&nbsp;very&nbsp;fun blood and gunshot VFX moments - that was super cool to work on."• More about Anchous <a href="https://www.anchous-editing.com/about" target="_blank">here</a>

Arsenii Pronkin

VFX Breakdown: Arsenii Pronkin of Anchous on Olivia Dean's videos

Olivia Dean - Lady Lady

Olivia Dean - Man I Need

Olivia Dean - So Easy

Following in the footsteps of the UKMVA-nominated Nice To Each Other, Lady Lady and Man I Need, Jake Erland's new video for Olivia Dean recreates the style of a classic Hollywood musical - but this is the most sophisticated and perfectly realised of the bunch.As in previous videos, Olivia is the focal point in choreographed sequences in So Easy. It suits her perfectly. Only here, she moves into different scenes and there is a sense of a narrative - a picturebook version of everyday life, like in a Stanley Donen movie,&nbsp;in which Olivia has an important role: matchmaking other people's love lives.Erland and his returning team, including production designer Furmaan&nbsp;Ahmed and choreographer Meshach Henry, have been given a bigger canvas for this video - likely&nbsp;due to the success of their previous videos in helping Dean enjoy a chart-topping hit with her second album, and helped by shooting this on a stage in Sofia. They have certainly risen to the challenge to make something lovely.[imgtoken data:1]&nbsp;&nbsp;

Olivia Dean 'So Easy' by Jake Erland

Olivia Dean - So Easy (To Fall In Love)

Directing brothers The Reids present a fast and furious fever dream for RAYE's supremely catchy first offering from her next album.The video for the infectious Where Is My Husband! is both very RAYE and very Reids, channelling some of the dizzying visual language in <a href="https://www.promonews.tv/videos/2024/06/13/raye-genesis-otis-dominique-raye/86792" target="_blank">Genesis</a> -&nbsp;the singer's magnum opus&nbsp;from early last year -&nbsp;with the breathless energy of William and Ed Reid's&nbsp;video for <a href="https://www.promonews.tv/videos/2024/06/26/james-blake-thrown-around-reids/87009" target="_blank">James Blake's Thrown Around</a>.Essentially it's a very enjoyable live action cartoon, dealing with a personal subject - RAYE's continuing singledom -&nbsp;with humour and pizzazz.[imgtoken data:1]The project is announced the way Genesis ends, with the insignia of a classic Warner Bros cartoon,&nbsp;flagging&nbsp;RAYE's new musical direction as Retro Pop, and then dropping her from a black void into a hotel corridor where she sees her ideal man walking away, slightly out of reach. And then she's handed a mic as she's thrust into a Supremes-style girl group.From then on, RAYE is thrown into different scenarios, switching between colour and black and white, and never quite managing to get hold of The Husband she has yet to meet.&nbsp;There's so much going on, it's something that really rewards further viewing - to enjoy the technical feat provided by the directors, and RAYE's outstanding, thoroughly committed&nbsp;performance.&nbsp;

The Reids

Anonymous Content

RAYE 'Where Is My Husband!' by The Reids

RAYE - WHERE IS MY HUSBAND! (Official Music Video)

Creative post production agency <a href="https://www.anchous-editing.com/" target="_blank">Anchous</a> has&nbsp;announced the arrival of Misha Kim (above) as a senior colourist at their London studio.Misha Kim is a London-based colourist and post-production specialist with over 18 years of industry experience.&nbsp;A sound design graduate with a background in music, he entered the industry as a runner and assistant at MTV. He later pursued directing studies in Canada, spending two immersive years on set before realising that post-production was where he felt most at home.Over time, Kim moved from being an editor to a colourist, which offered the kind of creative sprint that excited him. He eventually went freelance and built a loyal client base from scratch.&nbsp;He has collaborated with standout names including Coldplay, Qatar Airways, Marshall, ASOS, Captain Morgan, EA Sports, Xbox, Polaroid, Jimmy Choo, H&amp;M, and Hugo Boss, building a portfolio that bridges high-end commercial work and emotionally driven visual storytelling.&nbsp;From fashion films to music videos, he brings a signature balance of clarity, warmth, and intention to every frame. His approach is based upon an&nbsp;unwavering respect for the original creative intent, and his process is deeply collaborative.&nbsp;“Modern tools give us endless options,” he says, “But the most important thing is preserving the spark – the emotional and narrative clarity – behind a director’s vision.&nbsp;When you connect on a human level, the work gets better. Clients need to feel safe, involved, heard. That’s when the real magic happens.”In the next chapter in his journey Misha Kim is joining Anchous as a creative partner. Anchous founder/EP Arsenii Pronkin adds:&nbsp;"Misha exemplifies our values: deep listening, obsessive craft, and a belief that post-production is not the end of a story – but where its final emotional shape takes hold."• Watch Misha Kim's showreel at Anchous <a href="https://www.anchous-editing.com/misha-kim" target="_blank">here</a>

Misha Kim

Anchous welcomes senior colourist Misha Kim

Music video and film worlds collide in Jake Erland's latest collaboration with Joy Crookes.&nbsp;The video for I Know You'd Kill is a thrilling, no-holds-barred spectacle, boasting backlit fight scenes, gravity-defying flips - and Joy as we've never seen her before.&nbsp;Battling an unidentified assailant, she holds her own whilst tearing up her apartment-turned-battle zone, captured in a combination of brilliant overhead shots and frantic closeups.And, as well as plenty of action-packed set-pieces, it's another video by Erland showcasing Joy Crookes' winning personality.&nbsp;

Joy Crookes 'I Know You'd Kill' by Jake Erland

Joy-Crookes-'I-Know-You'd-Kill'-by-Jake-Erland

Bedroom take Teddy Swims from a lonely drink at a&nbsp;bar to an otherworldly therapy session and beyond in the hugely imaginative and&nbsp;atmospheric promo for Guilty.&nbsp;Diving into personal truth of the US singer, the video follows Swims' through his subconscious, as he tries to declare his love but always having something&nbsp;that stops him.&nbsp;Spanning surrealist landscapes and liminal rooms, it's a video that hops between reality and fiction&nbsp;with stylish flair.&nbsp;Fresh, evocative and unpredictable, it's another banger from Bedroom.[imgtoken data:1][imgtoken data:2]

Bedroom

Leethal Reppin

FRIEND

The Quarry

Teddy Swims 'Guilty' by Bedroom

Teddy Swims - Guilty (Official Music Video)

Fashion&nbsp;designer and now director Priya Ahluwalia helms a fast-moving and heartwarming&nbsp;video for&nbsp;Hak Baker, where a houseparty at the Baker gets a multi-generational boost.In No Control!, Hak is having family and friends round for a social, where all the young ones are told to entertain themselves in the bedroom upstairs. Not surprisingly, that plan does not last very long. Soon the kids are down with the adults, and soon everyone is dancing and living it up in the front room.&nbsp;Ahluwalia keeps the camera in constant motion to capture the vibrant energy of the cast and the scenario. And the the&nbsp;wardrobe from the music video pairs her designs with Puma's iconic 'Speed Cat' trainers, featured in the Ahluwalia SS25 show, creating a nostalgic, energetic vibe that complements both Hak Baker’s reggae-influenced music and visuals.&nbsp;&nbsp;

Priya Ahluwalia

Hak Baker 'No Control!' by Priya Ahluwalia 

Hak-Baker-'No-Control!-'-by-Priya-Ahluwalia-

As Jessie Reyez gets together with&nbsp;Lil Wayne to candidly celebrate the pleasures of sex, Relta keeps things sweet, slick and wholesome in the impressive video.Continuing a prolific run this year that's included videos for Ray Blk and Baobei, the British-Persian director steps it up for the Canadian singer/rapper's sizzling RIDIN, creating a good humoured fantasy where both Jessie and Wayne radiate warmth amid the lyrical raunchiness.From a bedroom space where she sits in her underwear, Jessie rises above her bed, into Toronto skyline, while an earthbound version of herself crashes into Lil Wayne's pad, to introduce his contribution. Relta also reflects the intimacy of the song, with tracking close-up shots over glowing skin, craftily intercut with the performance.&nbsp;A fine execution of a playful pop video that gets the best out of both artists - and a big step forward for Relta.[imgtoken data:1]&nbsp;[imgtoken data:2]&nbsp;

Canada

Relta

The Corner Shop

Hip Hop

Jessie Reyez ft Lil Wayne 'RIDIN' by Relta

Jessie-Reyez-Feat-Lil-Wayne-'Ridin''-by-Relta

Young singer Sienna Spiro gives an emotional performance in a striking all-red bathroom, directed by Relta.With production design by Sasha Hilton, who created the bathroom, the&nbsp;video for Spiro's Need Me was shot on 16mm in one continuous shot.“We spent the day building this set and had a tiny window and roll of film to shoot the video," says Relta. "Sienna nailed the performance in only two takes.”

Sienna Spiro 'Need Me' by Relta

Sienna-Spiro-'Need-Me'-by-Relta

Relta directs a bubbly promo for singer-songwriter Alfie Templeman's latest track.&nbsp;The video for Hello Lonely blends performance vignettes with green-screen experimentation, transporting viewers above the clouds and into a sunset fantasy.&nbsp;With an offbeat yet charming energy, the video is a welcome return to Templeman's world, and an ambitious feat from the entire creative team.&nbsp;“This was a real 'trust the process' video, experimenting with green screen and generated worlds courtesy of the incredible team at Anchous," says Relta.&nbsp;

Alfie Templeman 'Hello Lonely' by Relta

Alfie-Templeman-'Hello-Lonely'-by-Relta

Anchous

Post production company

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2025 (4)

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