By Mark Savage BBC music reporter

Music videos by Tinie Tempah, Megan Thee Stallion, Phoebe Bridgers and Twenty One Pilots

The coronavirus pandemic has caused chaos for the music industry. Festivals have been cancelled, albums have been postponed, venues have closed and thousands of session musicians are out of work.

Quarantine and social-distancing restrictions have also shut down most music video shoots since the start of March.

A few people saw the writing on the wall and scheduled back-to-back video shoots just before the lockdown began. Others were forced to get creative.

The last few months have seen an explosion in home-made, self-shot, DIY, hand-animated and Zoom-based music videos. Some of them have even been worth watching - which is handy in an era when YouTube views count towards chart positions.

Here's a selection of the more accomplished and interesting clips we've seen.

Most professional iPhone video: Evanescence - Wasted On You

Evanescence were putting the finishing touches to their first album in nine years when the lockdown struck. Rather than place everything on hold, the group told fans: "We promised you a new album in 2020 and we won't let anything stop us."

That meant filming a video for their comeback single, Wasted On You, in their homes, with each of the five members expressing the loneliness of isolation.

"Pulling this off had a unique set of challenges," director PR Brown tells the BBC. "We set out by discussing the range of emotions we are all going through. From there, we collected a list of everyday life routines that would be great to get on camera. I worked up a breakdown of angles, lighting and thoughts of how to film. Oh, and all of it, every shot, was filmed by the band and their families on an iPhone.

"After we starting looking at the footage it was clear that even though they were thousands of miles apart, they were each going through similar things. I started building an edit and seeing those scenarios play out over and over again and linked them together to tell their stories."

Unlike a lot of lockdown videos, the video feels polished and professional, without sacrificing any of the underlying emotion. It's subsequently been nominated for an MTV Award in the "best rock video" category

Best use of a deserted car park: Haim - Don't Wanna

Haim started off the lockdown by giving dance tutorials on Zoom. A few weeks later, they filmed the video for I Know Alone on a basketball court - all positioned six feet apart - after learning the choreography remotely.

That video directly inspired the follow-up - a goofy stroll through the car park of the Los Angeles forum, with the sisters elbowing each other out of the way to claim pole position.

It arose from the meme "Haim invented walking", arising from the fact many of their videos feature the band striding down the streets of LA.

"Danielle and I thought it was funny how half the comments [on I Know Alone] went, 'Where's the walking?'" says director Jake Schrier. "So we thought we'd have a bit of fun with the expectation that Haim has to walk it out in every video. And we also all love A League Of Their Own, which has that great scene of the sisters walk-racing until they both start running."

Schrier dispensed with his usual crew, shooting the clip in natural light on an iPhone mounted on "the $150 gimbal my dad got me for Christmas". The band nailed it on the third take "and then the sun went down".

Best animation: Tinie ft Tion Wayne - Moncler

"We are aggressively opening our budgets to make sure people have enough funds to bring in animators," Atlantic Records' senior vice president of A&R Jeff Levin told Rolling Stone last month.

It's easy to see why - animated videos have a level of flair and polish that home-made efforts tend to lack, which is why artists like Billie Eilish and Dua Lipa have harnessed the format.

But Tinie Tempah's video for Moncler edges ahead of them, thanks to its eye-popping colour palette and themes of positivity and interconnectivity.

"The Moncler video was meant to be filmed in some exotic location right as the world locked down - which sucked for the original production but turned out to be a huge opportunity for me," says director/animator Robert Strange.

"There were these images circulating of people crowded around their windows looking out at the world, so I decided it'd be of the moment to show Tinie looking out his own window, connecting with his friends via hologram technology. It was a tight turnaround so I worked a lot of 18-hour days."

Strange says he developed a "closer working relationship" with Tinie than most other artists, even though they were communicating remotely.

"He sent me so many good ideas and most made it into the video," he says. "Number one being the inclusion of his pooch, Pablo."

Best Zoom choreography: Thao and The Get Down Stay Down - Phenom

Oakland-based band Thao and the Get Down were one of the first acts to harness Zoom in a music video, and they set a standard that's hard to beat.,

Dividing the screen into a three-by-three grid, Brady Bunch-style, they choreographed an awe-inspiring dance routine that ripples across each of the panels. At one point, Thao and the eight dancers form a Frankenstein-style body. Later on, a glass of water is poured out of the middle frames into the mouth of the dancers below.

The video came together in less than a week, and was shot in one take after five hours' rehearsal.

"Certain dance moves had to be adjusted to look good in Zoom's gallery view and didn't translate if they were too chaotic," Thao told The Verge. "We found that the moves had to be really clean and clear and simple. I had to be the focal point and if too much was happening you wouldn't know exactly where to look."

Best awards show performance: Megan Thee Stallion - Girls In The Hood / Savage

There have been several award shows and benefit concerts during the pandemic, but none of them matched the scale and ambition of June's BET Awards.

The creative team actually outlawed the term "virtual performance" because "it immediately put the experience in a box," says BET's head of specials and music programming, Connie Orlando.

"We had to adjust our thinking and step out of what we had done in the past," she adds. "Once that clicked, the question wasn't, 'How do we do last year's show?' It was, 'What does the show look like this year?' There was a huge freedom in that simple shift in approach."

Instead of lo-fi performances from people's kitchens, BET provided budgets for clips that were often more like mini-movies.

Many chose to reflect the deaths of George Floyd and Breonna Taylor, as well as the ongoing Black Lives Matter protests, with powerful, political performances by the likes of Beyoncé, Alicia Keys, Public Enemy and DaBaby.

But Megan Thee Stallion stole the show with a desert-set, Mad Max-inspired performance of Girls In The Hood and Savage.

The video was staged with the help of a "Covid-19 taskforce" who ensured safety regulations were taken into account - but the viewers were left unaware.

"Megan is such an incredible artist, so creative, so talented," says Orlando. "It took lots of planning and meetings but in the end the performance is so epic you don't even notice that everyone was socially distant, you are just blown away by her slaying the screen."

Best celebrity voyeurism: Drake - Toosie Slide