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The Importance Of Videographers ft. Amir Mekkaoui & Jeaniq!

As we continue further into this generation which is so digitally influenced, and also run by independent power houses, the artist no longer require the major labels, which were once so vital to an artist being successful. After spending some time working in and around the UK scene with a number of creatives, one thing that I have realised is the importance of the videographer and an artist building a healthy and consistent relationship with their camera man.

In an era where music video's have become so vital to an artist being discovered, it is essential that the visuals are clean cut, and professionally constructed. This is easily accessible to so many aspiring artists now, and building a relationship with one set videographer, for me is vital.

When discovering new artists, I am often drawn in by the quality of their music videos. If an artist can consistently drop material of a high quality, on a regular basis, then they will not go unnoticed. There are definitely more factors which influence an artists success, but finding a camera man with the same passion and motivation can be a major key.

Below are some of the finest examples of consistent work from an artist and one select videographer.

Dave & Dir.Lx

@SantanDave1 - @DirLX

Dave has become one of the most globally recognised UK rappers, and all in such a short space of time. Despite Dave unquestionable talent as a musician, the delivery and marketing of his material made his sound all that more appealing. By releasing regular, engaging and high quality visuals Dave built a huge name and had the whole of the scene gripped.

We have seen the OVO affiliated rapper build an amazing independent platform, full of visuals that him and Dir.Lx have constructed.

Stormzy & Kaylum Dennis

@Stormzy1 - @KaylumDennis

During Stormzy's incredible rise to the heart of the music industry, there was one man with him capturing every moment. Whether it was a freestyle, a music video, or live footage, Kaylum consistently cooked up the highest quality material. The professionalism of their work, and delivery played a huge part on the Merky teams journey to the top.

AJ Tracey & J Mornix

@AJTracey - @JMornix

AJ Tracey is another artist who came up in the Grime scene, and took his sound global. We saw him attack styles that we'd never heard him on before, and created his own wave across the UK. Whilst doing so he was co-directing all his music videos with J Mornix, the man responsible for bringing us the waviest of visuals.

During my time working amongst the UK scene, a number of videographers caught my eye, two in particular. One was 'Wowa', as I saw his name appear on more and more high quality visuals, and the other being 'Jeaniq'. I had to delve deeper into who they were, and how they got into this line of work. Below is a written piece from both individuals as they discuss their careers and what it means to them to be a videographer.

EXCLUSIVE: Amir Mekkaoui // Wowa

'I am a director based in South London, I have been shooting music videos for over 4 years now and in that time I have wracked up over 150 million views all together on different project that I have worked on .

When I first started out doing music videos for London artists, it was a bit frustrating, because in my head I knew exactly what I wanted .. but it seemed everything in my head was never happening at the actual shoot. Partly, because I didnt have the skillset, and partly because the artist just wanted to do whatever they wanted to do. Eventually through trial and error, learning to deal with people and being able to take full control over a shoot, I started actually getting the results I wanted.

I believe artists should generally build a consistent relationship with one videographer, only if that person works for them. A big part of an artist is how they are percieved visually and the right director can enhance that and even bring new stuff out of them.

What makes me as a director work to the best of my ability is knowing that what I am going to do could potentially be seen by thousands, if not millions of people. Every video is a step closer or a step backwards to achieving my goal. Every director should treat each job like it is bigger than the last, because I have done jobs where I didn't really think it was going to be major .. but ended up getting over 40 million views.'

EXCLUSIVE: Jeaniq Amihyia

'My names Jeaniq Amihyia, I am a content creator based in West London, who specialises in VFX filming and photography.

It is difficult for me to single down what I do to either, photography or filming. I feel that I go through stages where I may do more filming than photography, vice versa, but I ensure that I consistently do both.

I've worked alongside a number of artists on visuals, including the likes of 67, Young T & Bugsey, Big Tobz and Blittz, Giggs, Stash Peso, AJ Tracey and many more.

I try not to hold myself down to just music videos and have been involved in a number of commercial projects aswell. For example; the 'Converse Insights Project' which shows a correlation between fashion & music. I also hold regular slots with RedBull UK and GRM Daily working on stills and video creation.

This line of work is pretty engaging, but I don't really see it as work if I'm honest. I get paid to travel around filming and taking pictures of artists that I enjoy listening to. I also like creating scenarios to compliment the tracks I am giving, it feels good to have someone purposely search up a track to listen to it with the video rather than just hear the song.

For those who are solely freelance its like this; in one instance you have a ridiculous amount of freedom; you choose when you work and who you work with, but at the same time you need to be organised and have a key goal. Deciding to turn down certain projects means I need to have a back up to make up for what I miss out on. Being a videographer won't give you financial stability - you have to create that.

I generally tend to work best with more time allowed on projects. I respect videographers that have a turnaround time of 1/2 days but c'mon, I edited up 67s 'All Around the world remix' in 2 days and it generated good reception. Imagine what I could have done if I had a week? '

Keep your eyes peeled for more 'CGuk Exclusive' articles which will be covering a variety of topics surrounding the music scene and industry.

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