CENTRAL LONDON MUSIC VIDEO

TOMMY BIZ × LEWI B
HANZO BLADES

GRAFFITI · SMOKE · COLOURED LIGHT · HEIGHTENED EDITING

A four-hour performance shoot in London’s Graffiti Tunnel, shaped around masked characters, portable lighting and an edit designed to make one location feel much larger.

Format: Music video
Location: Central London
Shoot: Four hours
Artists: Five performers

WATCH HANZO BLADES

THE BRIEF

ONE TUNNEL. FIVE PERFORMERS. A DARKER WORLD.

“Hanzo Blades” pairs Tommy Biz with producer Lewi B and features Row D, Tintz and Flowtecs. It became the second video released from the brothers’ album Immaculate Perception.

The visual concept centred on London’s Graffiti Tunnel: a dense, changing background that could support the track’s sharp delivery and masked, samurai-influenced styling. The location already carried colour and texture, but it still needed shaping so the performers did not disappear into it.

The booking allowed four hours on location. Smoke, portable lights and careful staging created separation during the shoot; the more extreme transformations were saved for post-production.

Masked Hanzo Blades performer lit against graffiti in the London tunnel

THE VISUAL SYSTEM

PRACTICAL ATMOSPHERE.
DIGITAL IMPACT.

Graffiti depth

Existing artwork, arches and stairways supplied several planes for individual verses and group formations.

Portable colour

Compact lights placed controlled colour on faces and masks without trying to overpower the entire tunnel.

Smoke and masks

Practical haze and character props gave the lens physical texture before any effects were added.

Edit-led transformation

Layering, trails, colour separation and motion treatment expanded a single location into a more unstable visual world.

Hanzo Blades performance staged at night in the Graffiti Tunnel

LIGHT AND ATMOSPHERE

CONTROLLING A LOCATION THAT IS ALREADY BUSY

A wall of graffiti can quickly become visual noise. The solution was not to light every surface equally, but to choose where the viewer should look and let the rest of the tunnel fall away.

Small sources introduced colour onto performers and masks, while smoke caught the beams and separated foreground from background. The practical effects also gave movement to otherwise static compositions.

Performance positions were selected for depth: arches, converging walls, stair rails and darker gaps behind the artists. That allowed the same tunnel to provide close portraits, wider group images and elevated angles.

THE EDIT

MAKING ONE LOCATION KEEP CHANGING

The four-hour shoot provided the performances and practical texture. Post-production then pushed the material further through layered frames, colour shifts, masked transitions, motion trails and deliberately unstable image treatment.

Effects were attached to musical and performance changes rather than applied at a constant intensity. Clean sections established the tunnel and the artists; more aggressive passages arrived when the track or verse demanded a sharper turn.

This balance kept the location readable while allowing the finished film to feel more surreal than the physical shoot alone.