Music Video Director for Artists & Record Labels
I'm Robin Piree, a Dutch music video director based in Dubai, working with artists, record labels, and production companies around the world.
For more than ten years, I've been turning songs into music videos, from performance-driven visuals to cinematic stories involving international artists, actors, and production crews.
Some projects begin with a detailed creative brief. Others start with nothing more than a track and a conversation.
Either way, my job is to find a visual direction that feels right for the music and bring it to life on screen.
I work independently as a director, developing creative concepts and collaborating with experienced production teams to make them happen.
If you're looking for someone to direct your next music video, I'd love to hear what you're working on.
Selected Music Videos I've Directed
Every project brings a different creative challenge. Here are three music videos that show how I approach storytelling, creative development, and directing.
Hardwell, Snoop Dogg & Conor Maynard — How You Love Me
I was invited to pitch for How You Love Me with an incredibly tight deadline. The brief called for a music video involving a particular car brand, but the creative direction was still open.
I developed a love story told entirely from the perspective of a car travelling through different locations.
That single visual idea became the foundation for the whole film. Rather than using the car as a background element, I wanted it to become the point of view through which the audience experienced the story.
I wrote the director's treatment in less than 24 hours, and the project moved quickly into production.
Working with New Amsterdam Film Company, who organised the crew and production logistics, I directed the video across locations in Rotterdam, The Hague, and the surrounding area.
It's an example of how a clear visual concept can guide an entire music video, from the first treatment to the final shot.
Hardwell ft. Jonathan Mendelsohn — Echo
The original brief for Echo was straightforward: Hardwell wanted a music video filmed in the snow.
I developed that starting point into a story about love, loss, and memory, set against dramatic mountain landscapes in Bulgaria.
Once we arrived, the weather had other plans.
Heavy snowfall, extreme winds, and constantly changing conditions forced us to rethink parts of the shoot as we went along.
As the director, I had to keep the emotional story intact while adapting our approach to what was actually possible on location.
I also edited the finished video, bringing the narrative and performance footage together into one film.
Echo is a project that reminds me why preparation matters, but also why a director needs to stay flexible when reality doesn't follow the storyboard.
Nielson & Tabitha — Slapen Met Het Licht Aan
For Dutch artists Nielson and Tabitha, I was invited to pitch a music video concept for Sony Music.
The song got me thinking about how smartphones affect human connection, and how easily we can become absorbed in our screens while losing touch with the people around us.
I translated that idea into a narrative told through contrasting visual environments, performance scenes, and carefully planned imagery.
The treatment helped communicate the idea to the label and production team before we started filming.
I developed the story breakdowns, shot lists, and storyboards, while New Amsterdam Film Company supported the practical production arrangements.
It's a good example of how I like to approach directing: start with what the song is saying, find a visual interpretation, and make sure every creative decision supports that idea.
I've documented the project in detail, including original treatment materials and behind-the-scenes photographs.
My Approach to Music Video Direction
I don't believe every song needs an elaborate story or an expensive production to make a strong music video.
Sometimes a simple performance, filmed in the right way, communicates everything the music needs.
Other times, a song opens the door to a narrative, an unusual visual concept, or something completely unexpected.
The challenge is figuring out which approach makes sense.
When I listen to a track, I pay attention to its atmosphere, lyrics, energy, and emotional progression. I also want to understand the artist's identity and what they want to communicate.
From there, I look for a central idea that can hold the visuals together.
That idea guides how I think about the performances, camera movement, lighting, locations, editing, and overall visual style.
For me, directing isn't about making every shot look impressive on its own. It's about making decisions that work together and give the music a visual identity.
From Song to Creative Concept
One of my favourite parts of directing music videos is developing the initial concept.
Some artists already have a clear vision. They might come with a mood board, a written treatment, or a specific idea they'd like to develop.
Others have a finished track but aren't sure what the video should look like.
I'm comfortable working with both.
Depending on the brief, I can develop an original idea, build on an existing concept, or help turn a collection of creative references into a more focused direction.
That usually means exploring the song, developing a visual approach, and presenting the idea through a director's treatment.
For projects that need more detailed preparation, I also develop storyboards, shot lists, and scene breakdowns to explain how the film should come together.
The goal is to make sure the artist, label, and production team understand what we're trying to achieve before anyone steps onto the set.
Directing Artists and Performances on Set
A creative treatment is only the beginning. The real challenge is translating that idea into performances and images that work on screen.
On set, I work with the artists, performers, cinematographer, and other creative departments to bring the approved direction to life.
That involves making decisions about framing, camera movement, performances, blocking, visual continuity, and how individual scenes connect.
I like to prepare thoroughly, but I also want enough flexibility to recognise when something unexpected is better than what we originally planned.
Working with music artists is particularly interesting because a performance needs to feel natural to the person delivering it.
My role is to guide that performance while keeping the bigger picture in mind.
Working With Your Production Company or Crew
You don't need to hire a complete production company through me to work with me as your music video director.
If you're a record label, artist manager, or production company with an existing production team, I can join the project specifically for creative development and directing.
I work alongside producers, cinematographers, art directors, and other crew members to translate the creative vision into a finished film.
The production team handles the practical arrangements, such as booking crew, organising locations, securing permits, scheduling, equipment, and other logistics.
My responsibility is the creative side: developing or interpreting the concept, communicating the visual direction, directing the shoot, and staying involved in the creative decisions we've agreed upon.
If you don't have a production company attached to the project yet, I can also discuss collaborating with experienced production partners.
This way, the production structure can be built around what the project actually needs.
How a Directing Project Works
Every music video is different, but I generally approach a directing project in three stages.
1. The Brief
We start with a conversation about the music, the artist, and what you're trying to create.
I'll want to understand whether you already have a concept, what kind of visual direction you're considering, and whether a production team is involved.
We'll also discuss the proposed budget, filming location, timeline, and intended release date.
With that information, I can assess the project and we can agree on the appropriate creative scope.
2. Creative Development
Once we've agreed on the direction and scope, I work on the creative approach.
That may involve developing a concept from scratch, refining an existing treatment, or preparing visual references, storyboards, and shot lists.
I collaborate with the artist, label, and relevant production team to make sure the idea is both creatively strong and realistic to execute.
The aim is to enter the shoot with a shared vision rather than leave important creative decisions until the last minute.
3. Directing the Shoot and Creative Follow-Through
During filming, I guide the performances and work with the crew to capture the material we need.
I focus on keeping the visual direction consistent while making the necessary creative decisions as the shoot develops.
After filming, I can remain involved in the edit and creative review, depending on the agreed scope.
Because I also work as a music video editor, I understand how the decisions we make on set affect the rhythm, structure, and emotion of the finished film.
Experience Behind the Camera and in the Edit
I've spent more than a decade working across music videos, concert films, artist documentaries, commercials, and other visual projects.
Throughout that time, I've worked with international artists, record labels, and experienced production teams, including projects involving Hardwell, Snoop Dogg, Sony Music, and others.
My background as both a director and editor has had a big influence on the way I work.
When I'm directing, I'm already thinking about how the shots might connect in the edit, how a performance will carry through a scene, and whether we're capturing what the story actually needs.
That perspective helps me approach music video directing with the finished film in mind, not just the individual shots we're creating on set.
You can explore more of my background on my About page or browse my selected work.