The Stranglers' Peaches is a masterpiece of leery teenage lust, redolent of long, hot summers in grubby Seventies seaside towns. It's why Dan Lowe originally intended to shoot the video for Dub Pistols' updating of the song on Brighton promenade. The total washout that's been this British summer scuppered that idea, but it did mean that Lowe's concept developed into something more complex and ultimately more satisfying.

This is a one-shot video divided by nine. In other words, the screen is divided into nine screens, mostly featuring guys in Reservoir Dogs get-up with walkie talkies - the middle screen taken by singer/rapper Rodney P - and each one a continuous take. It's quickly apparent they are all walking in different parts of London's South Bank and, as the Dub Pistols converge, it's clear that all the shots are happening simultaneously

This concludes with each camera broadly making up a bigger image of the whole band, now together. It's another example of Dan Lowe's facility for very strong concepts and an imaginative use and manipulation of equipment.

Lowe resorted to shooting in the concrete walkways at the South Bank having had to postpone the shoot planned for Brighton no less than three times due to the weather. But that also gave him time to develop his original concept. "The idea for Brighton was to use three cameras," he explains. "But I had so much time to think about it I slightly rewrote it and made it harder for myself."

Three cameras became nine, and the director had to work out a way to have all the cameras working within 100 metres of each other, continually moving, and also hitting various marks that have certain framing at certain points. He also needed nine DPs-cum-camera operators, and couldn't even count on his colleagues in teamSTUSH - the loose collective of directors of which Lowe is a member - to help out as they all became busy on other projects.

"Because using nine cameras that were all the same wasn't feasible, I tried to work with the biggest range of cameras possible, all different makes and resolutions - HD, HDV, DV, down to a bullet camera - almost just as a learning experience," he says. But matters were not helped by the weather. "We rehearsed all the cameras in the morning, where to start and end up, for three hours, in great weather," he explains. "The moment the band showed up it horrendously poured down."

After that Lowe and his team worked quickly. The production had approval to shoot at the South Bank (which is private land) and the cost took up a sizeable chunk of the budget. But going overtime would have killed the video. "We went straight away, and I think we got it on the fifth go. Everything clicked." This was with the director shouting instructions for camera placing over a playback which had to be loud so that Rodney could hear it. But the key here was the walkie talkies: Lowe used them and the headphones to relay the track and cue points.

The result may not perfect, but Lowe is happy. "I'm happy to work with the roughness. I love making videos where people will watch it again and try to dissect it and figure it out."