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What appealed to you about taking on the role of head judge for the Music Video category? 

The most exciting part about this process has been discovering new work that I haven’t seen before! I already do so much research and find so many great directors and crews that are making amazing work, so I’m extremely excited to see videos and concepts I’ve never come across before. 

 I’m excited to see videos that don’t have huge budgets and see how filmmakers come up with innovative solutions to these limitations. 

What sort of work are you hoping to see in this category when it comes to the judging process? 

I always love videos that have a lot of hidden messages and Easter eggs. Something that doesn’t feel linear but also tells a story beneath the layers. I’m excited to see videos that don’t have huge budgets and see how filmmakers come up with innovative solutions to these limitations. 

What are the most important elements to a good music video? 

I think keeping the audience hooked for an entire duration of a song is crucial. How does the concept further push the drive of the song? What does the video look like and does it encapsulate the feeling and tone of the song? And let’s say it doesn’t, how does the video use juxtaposition and manage to stay cohesive?  

We have such a diverse pool of creatives out here that we will never have a shortage of incredible work.

There are many elements. I like to look at the visuals, the concept and ideation, the execution of that idea, and the whole impact of the video. 

Do you think 2024 was a good year for creativity in north and south America? 

I believe so. We have such a diverse pool of creatives out here that we will never have a shortage of incredible work. From Canada down to Mexico.  

The talent and impact that North America has is top tier. I think it’s always a good year, sometimes great! 

Above: Some of Ibrahim's fellow Music Video judges, Cam Roberts, Nina McNeely, Chiao Chen, and Kirsten Arongino.


Is there a particular piece of work that inspired you to get into the industry?

I saw a Caster Semenya Ad for Nike that genuinely made me look at commercial work differently. Since then there’s been a vast amount of work that has continuously inspired me and still does. 

I think small brand campaigns that I’ve been running across have been killing it. Seeing the smaller budget adverts being so conceptually strong and thoughtful attention to detail, I love it.

Nike – Just Do It: Caster Semenya

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What do you think the biggest challenges and opportunities are for music videos in the year ahead? 

I think the following year is always about what can we do different, how much further can we push? So I think that doesn’t change every year in the creative world since back whenever.  

We’re always trying to push and create unique things that haven’t been seen before. Some direct challenges I can think of might be how to navigate the AI world, or how not to, depending on your viewpoints. I think it has become an inevitable conversation. 

It’s exciting and lovely to see the people you look up to being recognised. 

Why do you think awards are an important part of the industry?

I think recognition is important. It pushes people. The people who are awarded and the ones who are not. For myself winning an award wasn’t the goal but watching a creative be awarded has gotten me out of my seat!  

It’s exciting and lovely to see the people you look up to being recognised. It also can give you a drive, to go out and do similar. Winning an award isn’t an end goal either, which I love.

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