Katy Perry’s new single Small Talk was a new one for all involved - a live action lyric video!
With rapid fire lyrics, hundreds of bespoke set-ups and props were required to tell the story of two office workers that used to be together… and (to quote the lyrics) now there’s nothing left but Small Talk.
Fun, quirky and bursting with energy, the video hit over a million views in its first 24-hours!
With these V05 hair tutorial videos with pop superstar Anne Marie, we wanted to reflect Anne Marie’s fun loving personality in the videos.
Super fast cuts, split screens, and some poppin’ sound effects combine to make these fun, fast hair tutorials.
Anne Marie was a pleasure to work with, and V05’s range was give a workout across these two looks - Tame & Shine, and Rebel Rose with Ocean Blue Glitter.
Energetic and fun, these videos are engaging, and have been viewed many thousands of times!
For Ministry of Sound’s Chilled 60s album we pulled out all the stops to create a TVC that was luscious, calming, and ready for summer.
Using the motif of flowers floating on the top of water, the piece feels effortless, organic, and peaceful - but underpinning that are a lot of complex physics simulations!
Flowers on water - does anything else say Chilled 60s quite as well?
Directed by TIm Fox, the latest video for Matt Cardle is a visual exploration of the nature of Desire, the title of the track. Using colour and form to express feelings and mood - Red for Desire, Purple for Jealousy - We created several scenes using an illuminated square in different sizes, which proved a challenge for our production and art department teams.
Other scenes included a mirror room, designed to portray more of a fractured relationship, in which we built a room of wonky mirrors and shot through two prisms attached to a steadicam. And then there was a shower scene where Matt and Jerry Pears - the female lead - put on an unbelievable performance, and a series of shots in which we dunked Matt into a paddling pool of luke warm milk. Matt was a trooper!
We pulled out all the stops to create an entire album campaign for The Shires, including a Music video, album cover, single covers, press photography, social content, teasers and TVCs.
We shot the music video and photo shoot at The Pink Motel in LA - You might recognize it from the TV series Glow, and any other film production that used a real 1950s motel and Diner, with a junkyard full of vintage cars thrown in.
The band were superb to work with and completely up for a laugh, and you could even accuse them - and us - of being guilty of having a good time.
Heineken got in touch with a request that we come up with an attention grabbing way to communicate tips and tricks to their retail partners - and we came up with Dr. Shop!
The video series is an off-kilter riff on makeover shows, crossed with The Office - Dr Shop thinks his absurd ideas are great, whilst our brow-beaten shopkeeper (and the audience) know that simple changes and common sense are the way forward.
In short - don’t be like Dr. Shop!
The videos are fun, comical and absurd - guaranteed to stick in your mind, and great at communicating the Heineken retail tips.
The videos were so successful, they even got coverage in Talking Retail - so odds are, Dr. Shop will return!
We got to shoot a real Brit Award, designed by Anish Kapoor. Using prisms and macro lenses, we were able to show off the precision and elegance of the award, glossy curves and beautiful refracted light. All live-action, zero CGI.
This series of videos was created for Stylist and Nissan - using the Nissan Juke Envy as a jumping off point for a discussion about Envy and the people and situations that inspire you to be better.
Featuring an all star list on contributors (Alice Liveing, Joanna Rowsell Shand, Maya Jama, Steph Houghton and Kitty McGee) the series of videos reached a wide audience, and inspired people all around the country.
The legendary Ministry of Sound approached us for a fresh concept for Sunset Chilled, a compilation of smooth Balearic classics. We created artwork and a TV commercial based around a record player shaped swimming pool.
The commercial fuses together slick CGI renders and live action footage (shot on location in Ibiza), with a splash of in-camera effects, underwater filming and drone photography showcasing the wide range of techniques we have up our sleeve here at Monument.
Jump in and chill out, the waters lovely!
To raise awareness of the types of scams that can affect the over 60s, Santander launched its SAS initiative - Scam Avoidance School. For one day, all Santander branches would be closed, and teach the SAS curriculum.
Adding some star power to the mix, we teamed up with Len Goodman, of Strictly Come Dancing, to make a fun, and engaging summary of the SAS initiative.
We loved working with Len - pickle me walnuts, for Len, it’s a 10!
We had a lot of fun throwing pink paint at inanimate objects for this commercial, a 90s R&B compilation album called The Beat is Mine.
Rather than render everything in 3D and use liquid simulators that would suck all the fun out of it, we 3D printed some R&B ladies, a gold chain and a tape cassette and bought in a stereo speaker to drizzle paint over. The result was something far superior to CGI renders, allowing us to use top quality macro lenses in the process.
The highlight was when we turned the bass to full whack on the speaker, with spectacular results!
For Trevor Nelson’s Slow Jams album we wanted to step away from the CG environments we had used on his previous releases, and instead carried the super clean, pure white aesthetic to a location shoot.
Between the glass speakers and the handmade turntable, the entire piece is all about luxurious minimalism.
Album artwork and photography also reflected this look, and created an unmistakable package that captured audience’s attention.
This partnership between Lynx and ShortList was under the banner of Lynx’s key branding message ’Find Your Magic’, and features three superstars - Anthony Joshua, Craig David and Rob Beckett.
Each delivers a speech about how to ‘Find Your Magic’ - how they found theirs, and how you can too,
Empowering and direct - and that’s reflected in the heavy shadows of the black and white footage.
We shot this ambitious promo for Vistajet - A private jet company that works like a limo service for those who can afford it. The campaign was aimed at the classy, luxurious side of the market rather than the tacky celebrity side so it called for some delicious camera work on an Alexa. We had access to the plane for about 3 hours which included shooting it taking off. A note on shooting at airports: Make sure your DOP remembers his passport...
Cool Cats & Diamond Dolls takes you back to the era of Frank Sinatra and Marilyn Monroe, a time of epic Hollywood musicals of which the artwork and TV commercial take inspiration.
The artwork shows the album recreated in bright lights, created in 3D using the Vray renderer for ultra realism. Having built the sign in CGI, we went about shooting a live action TV commercial with the sign composited in in order to tie the whole campaign together.
We recently had the pleasure of making this film for Morrisons, via their agency Publicis. The brief was to show all aspects of their amazing production lines and the people; the “colleagues” who all make it happen.
We shot the piece over a week in a variety of interesting locations around the UK. The early morning Grimsby Fish Factory shoot was a particular highlight!
We worked with the good guys at El Carousel and Storylab to create this Trailer for Lego Ninjago's.
Anyone working in the creative industry like us will probably tell you, Lego was the single driving force to getting into this business in the first place. Personally, we remember spending hours on our bedroom floors constructing lego castles and the pirate Island! So to work on this trailer was a lifelong dream.
Lego Ninjago's are one of the companies highly succesful franchises, with their own animated TV show. The task for us was to create a live action version of some of the characters. Spinning "Spinjitsu" style across rooftops and alleyways, towards an eveil green glow in the distance.
Of course this had to be shot at night, and over the course of 19 hours (That's 8am to 3am...) We travelled across London with four of the UK's best Free Running athletes dressed as Ninja's.
The trailer consists of live-action, with VFX and CGI composited buildings and scenery. When you get a chance to shoot a free runner leaping off a rooftop, you shoot it at 200 frames per second! So look out for those in the trailer below.
Following the success of the 2016 album campaign, we again worked with Sony Music and BBC Radio 1, we created the TV ad for the annual Live Lounge album - this time, the 2017 edition.
Featuring huge artists such as Rag’n’Bone Man, Stormzy, Rita Ora and Kings of Leon, we created a GFX piece that also featured videos of the artists performing.
To tie everything together we used light boxes as a central concept - we follow them as they are ’switched on - as an ‘On Air’ light would be at Radio 1!
To work with Eleanor Tomlinson - star of BBC’s hugely successful Poldark, was an absolute pleasure.
Sony Music asked us to create the TV Ad, artwork and performance videos for her debut album - Tales From Home. To create the multi layered campaign we shot on multiple formats - several digital video formats, Super 16mm film, digital & analogue photography.
The campaign itself is just like Eleanor’s music; evocative of the past, but simultaniously contemporary and modern.
Legends brings together some of the all time greats on one album. Queen, George Michael, Whitney and more. Art Director Pete Falloon created album artwork and a TV concept using glitter on a suitably epic scale to do the album justice. Brought to you by those other legends, Ministry of Sound.
We raided the youtube archives for rave footage from those heady warehouse parties in the 90s. What we found was TV gold, but mostly unfit for broadcast. What we could use, we turned into a motion graphics epic that will transport you back to original rave culture for Old Skool Ravers, from the source you can trust, Ministry of Sound.
The sound of 80s synth music is alive and kicking. Our commercial takes you back to those neon times, with a smart twist on iconography and music equipment of the time.
Taking inspiration from the modular beats and tight harmonic algorithms of the electronic sound, we repeated objects in patterns that blinked and flashed in time with the music.
Do arcade machines dream of electric beats? We like to think so.
Feel the Funk goes to town (Funky Town) on the glossiness, taking the best imagery from the genre to create an animated TV commercial that plays on lyrics. Look out for Fred Funk and his funky brothers.
Sheku Kanneh-Mason is a BBC Young Musician Award Winner, and his debut album Inspiration has found huge success.
We created the TV ad in collaboration with DECCA Classics, and put forth a bold, block colour concept.
It’s young, vibrant and funky - just like Sheku!
Taking you back to the 90s, Piano House Classics showcases the best of that piano sound from the rave era, brought to you by the legendary Ministry of Sound.
We created a nostalgic montage of graphic design and footage of the era, creating "moving" rave posters.
Tim Westwood is the only source for Hip Hop Club Bangers you can trust. We had the pleasure of working with the man himself,who not only willingly stood in the London rain while we filmed but even made the crew cups of tea.
We put together a stable of dancers from different backgrounds and styles who brought their moves on the day and raised the game. Big Up every one of them **Cue bull horn and sound of smashing glass***
You won't have seen this ad on TV. The good people at Polydor however granted us permission to show this TV commercial we developed for the Rolling Stones album, Blue & Lonesome. Somewhere along the line it wasn't chosen as the main ad - these things happen - however at Monument we were super proud of this piece, and are thrilled to be able to show it to you.
A real mix of live action, rotoscoped band members, motion graphics, animation, CGI and VFX. It's a mish mash of things that are blues, things that are reds and things that are awesome!
We even spent hours shooting a classic truck for precisely half a second of footage! That's passion.
We were approached by our good friends over at UMOD to create a TV commercial for their “Soul Man” release. The obvious choice was to shoot in New York to get the authentic look and feel of early 70s Soul Music.
All shot on location (gotta love those NYC permits!) we follow our Soul Man walking through sunny Harlem before picking up his ’74 Dodge and driving to meet his special lady, before an intimate private performance just for her.
We added some artist names into the environment to establish this was a compliation album, and graded it to feel bright, modern and accessible, but with a slight vintage look.
The commercial was shot on Arri Alexa XT with Lomo Anamporphic lenses for the vintage film feel, and beautiful flares.
Note that when shooting outside in New York, in late December, wear some serious arctic jackets- a crew have never been as cold as on that day, despite the sunny look at the start of the ad. Oh and, classic cars sometimes don't actually start...
When Columbia Recrods asked us to create a TV advert for double platinum artist Rag’n’Bone Man’s debut album, Human, we had to make something unique and bold.
We created a 3D world of televisions, which displayed clips of his three key music videos; ‘Human’, ‘Skin’ and ‘As You Are’. These were used to show the different aspects of Rory, coalescing at the video’s finale into the iconic ‘Human’ album artwork.
With multiple concurrent edits, a VO by Radio 1 DJ MistaJam, and slick 3D GFX; the final piece is a testament to the superstar that is Rag’n’Bone Man.
Another successful piece for Decca Records, we were asked to create something along the lines of Tron to visualize the connections between the different departments within Decca Records.
We decided to build towers for each one, made up of cubes that store artists, songs and catalogs. The piece starts small, with a single dot representing a note in the song, then pulls out further and further to reveal a buzzing metropolis of music.
Created for UMOD (Formerly UMTV), this all encompassing project for Club Classics saw us pushing our ability in creating high quality imagery. Combining super heavy CG renders and beautifully slick live-action cinematography, we wanted to present a highly polished, exclusive-feeling, top quality brand. Not out of place as a commercial for a high-end product like a Rolex or expensive cologne.
Featuring our good friend Trevor Nelson, the ad builds, slowly revealing him using rotating lights and in-camera lens effects. The Club Classics logo also builds, using a similar look and feel to the live action shots. The whole thing comes together with a well considered edit and a generous use of speed ramping.
It's our belief that music ads shouldn't just be competing with other music ads for attention, but all other TV commercials. Think big. Think epic.
For Sony Music’s Country Gold album we pulled out all the stops to create a TVC that was gold, gold, gold!
Using the artwork as a base, we constructed a 3D world of polished gold figures, with vintage footage of the artists ‘projected’ onto them - it’s classic, it’s country and it’s solid gold.
We worked with Bluehive Advertising Agency to create these sponsorship bumpers for the new Ford Ecosport. The TV program they sandwiched was called Superstar DJs with Annie Mac. It proved challenging to combine a car with the world of DJing, but we found some surprising visual similarities in these four short bumpers.
Time was not on our side for this project, and our team pulled together excellently, harnessing the power of Render Farms to produce some high res full 1080p renders of the car. The rest of the pickups, shooting DJ equipment was all shot through macro lenses on set.
We worked on this TVC for the album, Gotta Have House by Ministry of Sound which showcased house music through the decades. We decided to display the graphics on Analog TVs and play with video malfunctions and VHS effects in camera. None of what you see was created digitally.
We worked with Fritz from Azari & III for his dancing skills, and he exploded on set for us to portray an eclectic house music dancer.
Director Pete Falloon and our good selves here at Monument, put together this comprehensive promo for up and coming Mexican Restaurant chain, Chilango. The aim was to entice investors through an exciting and visually captivating promotional video that captured the intensity of the brand and excitement of the company. Pete broke the mould for corporate videos by using glorious cinematography with snappy, cool graphics and a dynamic, pacy edit. The food shots will have your mouth watering!
And the proof is in the result: Chilango broke their £1 Million target within two weeks, based on this sole piece of promotion.
Unfortunately a project that never got to see the light of day, we worked with advertising Agency MindShare to create a series of short stings for The Castrol Rocket: A high speed motorbike (If you could believe it from the design!) that was aiming to break the land speed record.
We were provided with some stunning clips of the Rocket itself, and developed a technical-style edit with infographics over the top to build suspense towards the final event.
Skate Punk Anthems are the sounds of our youth here at Monument, though 50% of us still won't admit it. This required an old school skate park shoot with animated logos and liquid motion to bring it to life. Many thanks to our three skaters, the first time in recorded history we managed to get skateboarders out of bed at 6am. It was worth it for the sunshine.
This is 80s XL. Not only the definitive 80s compilation album, but also the definitive neon light render extravaganza. We went in hard on the reflections, specular and refractions (If you don't know, look it up!) building as close to realistic scenes as we could without melting our machines.
Working with Sony Music and BBC Radio 1, we created the TV ad for the 2016 edition of the Live Lounge.
Featuring huge artists such as Coldplay, The Weeknd, Usher and Craig David, we created a GFX piece that also featured videos of the artists performing.
To tie everything together we used guitar leads as a central concept - we follow them as they are ’plugged in’ - for a live performance.
We were given the opportunity to create custom visuals for the latest Kygo Campaign, Cloud Nine. Heavily rotated on Radio 1 and credited as the creator of "Tropical House", you will definitely have heard his music somewhere without knowing it.
We wanted to encapsulate the feeling of being lost in music, letting it lift you...quite literally... into cloud nine. We shot 4 sexy, young things on wire harnesses at Pinewood studios. Despite never doing wire work, they took to the air naturally bending every which way we asked.
The album cover for Cloud Nine changed from a hazy photographic shoot (Hence the clouds) to an original piece of artwork by Mr. Brainwash which featured a big dripping streak of paint. This led to us including upward drips of paint into the commercial, adding to the sense of anti-gravity.
The TV Commercial builds to a crescendo of colour and paint explosions in sync with the music. The project has been a creative dream as this could so easily have been a simple album cover and text reveal. And this is so much more...
The Collection series continues, shifting units and repeatedly gaining #1 status' in the compilations charts. This edition is compiled by the biggest DJ in the world (We checked, it's true) Fatboy Slim!
Fatboy Slim is known for his music videos as well as his tunes. Working with the likes of Spike Jonze and featuring the legend that is Christopher Walken, we felt the pressure of coming up with a creative that suited Norman's irreverant style. We moved away from slick, next-level CGi and went with a live-action VFX route. Fatboy Slim can often be seen holding up record sleeves to the audience at his gigs, so we took this and ran with it, inventing new and interesting ways to transition between scenes using record sleeves.
We shot over the course of 2 days with Norman, in Brighton at three locations. We were blessed with some incredible sunshine which kept spirits up despite our 5am wakeup calls. Norman was an utter gent for the entire 48 hours, never diminishing despite having to repeatedly hold up a fake green record sleeve.
Director Pete Falloon flew to LA to shoot Aoki and his crew in an 80's VHS Skate-Off between two skateboard crews. Featuring super retro graphics and messed with to look like a found VHS tape.
Pete Falloon AKA The Bear:
"It's heavily inspired by the cult film Thrashin'. We created two rival gangs that come head-to-head at Venice Beach Skate Park in an epic old skool skate off. Aoki is the leader of “The Dimmaks” and they take on featured artist Chris Lake and his gang “The Rampants”. It’s all highly tongue in cheek, we know the skating is pretty bad and the stunt doubles are obviously fake, but it has all been painstakingly created to stay true to the 80′s film style.
"The thing you may not notice is the awesome edit trickery that hits every beat, hidden beneath an authentic VHS grade."
We were approached by the lovely people at Decca Records to create their annual showreel for 2015. Every year, the various departments under the Universal Reocrds umbrella showcase what they've been up to you that year, and the competition between who has the best reel is fierce! So it was an honour to be asked.
Decca encompass a vast range of music, and not just classical. Jazz, Rock, Pop, Contemporary. Our task was to show how varied the rosta was, whilst keeping it distinctly 21st Century "Decca". We did away with any reference to stuffy, classical intellectualism and kept it light, vibrant and elegant. The main artists were illustrated and placed in minimalist animated scenario's. We also had the luxury of working with an exclusive cut of "Liquid Spirit" by Gregory Porter.
In February we worked on artwork and a TV commercial for Magic, The Album. A compilation of tunes that typically feature on the radio stations playlist. It being the middle of winter at the time we decided to offer the audience a warming glimpse into the future and feature a gorgeous spring time picnic scene to accompany the uplifting soundtrack.
However, it being bitterly cold outside with not a leafy tree in sight, we set upon recreating the scene in a studio - Fresh, green turf and all. The cupcakes are real, the flowers are real and the bite in the sandwich is real (Cheese and pickle, if you're wondering).
Just Great Songs. It's exactly that. Sony Commercial asked us to put forward a fun, magical fantasy land of butterflies, dolphins, flowers and flamingoes to accompany the TV Commercial for this compilation album. Rendered in glorious glossy 3D, you can't help but dive in to your screen to enjoy the vibes. But don't try invoicing us for a new TV.
During the London 2012 games, Coca Cola sponsored an event where you could recreate Mark Ronson's official games song at Metropolis Studios. The lucky participants spent a day recording sports noises, and then singing the song en masse. Monument documented this event with a live 5 camera setup. We also created the title sequence and visuals for the piece. This involved learning the design guidelines for two of the biggest brands in the world, Coca Cola and the Olympics. That was a combined 300 pages!!
We were super excited to work on the TV Commercial to promote the 20th Anniversary album for Faithless, undoubtedly the soundtrack to our youth here at Monument.
The idea was all set to go with Maxi walking through a Matrix-like landscape of lasers and holograms when we found out he wouldn't be available! Do you know how many look-a-likes there are of Maxi Jazz from Faithless in the UK? Well we soon found out. Our work around was to build Maxi out of holograms and pixels as he walked, to finally reveal a shot of him on stage at the end. And ultimately, it led to a better ad.
We used a piece of software called Brekel, to capture point cloud data using an Xbox Kinect on our one and only "look-a-like."
We worked on the third installment of "The Trevor Nelson Collection", after the massive success of the first two commercials. From initial concept, to shooting, all the way through to post-production.
We challenged ourselves further with this one, creating a one camera shot in a fully CGI environment - With help from the same motion control crew that worked on Gravity and Lord of The Rings. The motion rig is so precise, we didn't have to rotoscope, or track with little sticky markers AT ALL. A post-production dream.
The scenery changes from a slick, open-plan apartment to a car, a TV studio, a jet plane and finally a swanky rooftop party.
Directed by our FX wizard, Tim Fox.
We created the commercial for The Nixtape, a compilation album curated by Radio 1's Nick Grimshaw. Starring the man himself, we created a super sexy party that we all got involved in. Thankfully, we only put the beautiful people in front of the camera and kept our dance moves strictly behind the scenes.
Pete Falloon AKA The Bear, shot this epic for Alfie Boe's "If You Go Away". We commandeered a steam train in the wilds of Lancashire, hiring the whole line and closing all the stations for the day. It depicts Alfie "Coming Home" in a 50s era that perfecyl matched the tone of the song.
We shot an online video for Ke$ha to promote her latest album. Not a music video as such but a short film with Ke$ha being her typical eclectic, wild self in an interrogation situation.
Shot by DIrector, Dan Peters on the set of the Bill in Wimbledon it has since racked up over 1.5 million hits online.
In the second "The Collection" commercial we shot for the guys at Sony, the series returned to Trevor Nelson after the success of the initial one he headed up.
We took influence from films like Tron and Oblivion, positioning him in a futuristic, slick radio studio. We shot him on green screen twiddling pretend knobs and sliding non-existent faders.
This album went on to being the highest selling Comp album for 2013, and we were assured it was mostly down to the commercial...
When Tony Blackburn puts his name to a comp album, its guaranteed to sell. And so we shot the commercial for it, starring the man himself. A pleasure to work with, he even managed to learn everyone's name on set.
Bo Saris is a soul singer based in Holland but making a big splash in the UK and USA right now.
Directed and Animated by Tim Fox:
"His management came to me specifically because they wanted something a bit different for their lead single, 'The Addict'. The title instantly led me to pursue the theme of drugs, but I didn't want to go the grotesque way of Trainspotting and Irvine Welsh. Instead we treated it with a nod to the psychedelic and Alice in Wonderland, by sending Bo on a tea-induced psychedelic acid trip. Its actually based on a dream I once had where I awoke in front of a selection of brightly coloured cups of tea, with each one sending me on a different sub-dream within the dream. My original nightmare also featured a cameo from Rolf Harris, and in retrospect we're pretty lucky we didn't contact him to be involved!"
"We shot in a green studio on a green treadmill, and painted Bo's face black with white lips. With the addition of a pair of white gloves I inadvertedly started a heated debate on racism and minstrels within management, and we opted to give him a more purple hue."
"We also used an Xbox Kinect to capture motion data for use in some of the scenes where Bo becomes a fully animated, rigged character. The Kinect gave us basic tracking points around the body which we could use to create a simple skeleton structure to animate around. It has the added advantage of giving us realistic 3D data - the motion tracking in after effects for example, would only give us 2D data and feel quite flat. Unfortunately, we didn't count on the Kinect being renowned for not detecting dark skin! So we had to do a seperate pass at the end of the day with Bo 'unpainted'."
In the third installment of our successful commercials for Sony Music 'The Collection' we shot the one and only Grandmaster Flash! We placed him in a stylised, CGI rendered, New York environment. A Ghettoblaster/ NY block hybrid with flashing lights, pounding speakers and moving taxi cabs. Flash DJ's to the neighbourhood, and brought the house down on set, despite having to imagine the whole thing in a green screen studio.
We were nervous at first when we were told we had two hours to shoot with Dermot, but once we realised what a pro he was, we got more footage than we needed. This was another commercial which called on the album cover to be extended into a full TV ad. So the chair played a major role as the centrepiece for all the action. Unfortunately we couldn't find a chair that was blue, so our grading department worked extra hard to turn a brown chair the correct blue.