The song itself is a sentimental chapter of a much wider story, the Hobart musician’s newest narrative-folk album ‘The Great Tasmanian Escape’. It’s a semi-autobiographical affair, in which Jesse, our central character, embarks on an adventure across Tasmania’s wilds. Director Gabriel Morrison has roots in Tasmania, where he first happened to see Chris perform at a local festival.

“Amelia just jumped out at me, both as an amazing song and something I felt I had a connection to. I felt amazingly lucky to have the choice of song because I think there is nothing worse than trying to create a music video for a piece of music you feel no connection to.”

“Both of us having grown up in Tasmania meant we have a strong connection to the island. During pre-production we brainstormed locations and landed on very similar ideas. One of the main locations was the Longley pub, one of Chris’ favourite venues to play and one of my favourite pubs in the South.”

“For most of the film we used natural light. Instead of adding light, we took it away with blacks and shaped the images that way. The biggest set-up we did was in the pub for the opening shots. We used a combination of prac lamps to create an interior ambience and then punched some tungsten fresnels in from the window to create a bit of a backlight with a full colour temperature blue to emulate street lights.”

The cosiness dissipates as we follow the couple to the evening’s end. The remainder of the clip ushers in more sobering realisations, accompanied by overcast and low-key natural light. Silhouettes consume, just as the lyrics say – and when Jesse leaves at dawn, the opulence of the orchestra withdraws to subdued guitar.

“We tried to shoot at dawn and dusk to get nice even light with high contrast. Probably my favourite shots were Jesse in the forest hacking at the tree at dusk. That was all naturally lit, and we were lucky to get a beautiful evening with a long blue hour.”

The clip flits between Jesse and Amelia’s divergent day-to-day life. The setting of Styx valley in South-West Tasmania tells so much of the story; as Jesse hikes up the mountain, he’s steadily out-scaled. Jansz’s cinematography embraces its magnificence. Framed by overgrown woodland, Jesse takes a small axe to an ancient tree, and the stakes intensify.

“I’d always wanted to film something in the wilderness. It’s such a humbling experience just walking through those giant trees that are hundreds of years old, towering above you towards the sky. I’m just really glad it translated like that to the screen. And I’m glad we could capture that part of the forest as it’s probably been clear-felled and burnt by now. It was right next to a giant logging coupe so it was definitely the next to go.”