Kaiser Chiefs.

When you combine such outstanding talents as the Kaiser Chiefs and virtuoso director, WIZ, you're bound to get superb results. And the video for the Kaiser's latest release does not disappoint. 'The Angry Mob' sees Prime Focus' run of top notch promo work continue to flourish, giving us yet another opportunity to deliver a master grade, this time working from humble HD-cam footage, whilst polishing everything off and adding cheeky details in Flame.

Pitting the chavs against the chav-nots, the video, which contains cameo performances from band members, opens on a hen night pack of pink-clad ladies, swilling champagne in a swanky restaurant, much to the disgust of the diners. The maitre'd is forced to sling the hens out onto the street, leaving the snobs in the safety of their exclusively middle-class haven. Fuming, the hens mete out their revenge, starting with a full-on moonie against the restaurant's window. The restaurant is then besieged by a second party of hens, this time decked-out as bunny girls. Refused entry thanks to the behaviour of the previous hen group, the bunny hens seek retribution on the pink hens. The eponymous 'angry mobs' then front up to each other and there follow some ugly scenes of girl-on-girl slapping and head-butting. Meanwhile, the gentry relish the show from the safe confines of their restaurant. As soon as the hens realize they have become entertainment for the snobs, they unite against their common enemy. The film ends on a cliff hanger as the hens menacingly pick up a metal bench and the diners' snooty expressions become distinctly uncomfortable.

Matt Wilmshurst took care of all the Flame work which, bearing in mind WIZ's penchant for perfectionism and detail, included adding logos (like the double-entendre laden 'Noblesse' on the restaurant's window and the female insignia on the limo’s wing mirror); lots of set clean-up and extensions; adding reflections towards the end of the film to maximise connotations of separation and observation; and compositing multiple takes to perfect action matches (for example, in the moonie scene). Meanwhile, Tom Russell graded the HD footage through a Truelight film emulation system to give it a more cinematic look. He enhanced the cool blues of the restaurant scenes and the warm colour palette of the 'hen' scenes to exaggerate their contrasting natures.