https://drive.google.com/open?id=1cFP1CfZapcQqCCY7JhVJBRRPLeU-MyO7
Going into this shoot, I knew I wanted the focus to be on how the lights change the landscape, and how it creates an environment which people react to in certain ways. So we started at the place where I stood when I did the reflection, and filmed people in the same way that I looked at them back then. We got some nice stuff. We moved around and got things from other perspectives, and on different length lenses, but the overall plan was to film the effect of the lights on the environment. For this reason, I was not interetsed in filming anything to do with the ferris wheel, instead keeping the source of the colours as an “irrelevant” detail. I think this decision paid off.
If I was to go back and film again, based on what I liked from our first night of shooting, I’d try to get more close shots of people as they walk past, where their faces and expressions are visible. Getting up close to people may feel uncomfortable, but the fact that we could simply set up and let them walk to us would make this much easier.
In editing, I found that the moments when the lights are changing rapidly, which at the time we thought were the best moments, were too incongruent with the rest of the tone of the piece. However, the fast changing colours did find a place in the colourful waves at the end, where the energy and movement is different to the shots of people. I liked the idea Robin suggested to us of the slow reveal of what is going on, where the audience only slowly becomes aware of what the real subject is (the colours). The vibrant waves at the end serve as a payoff for the viewers who figured out that the colours of the scene are changing in a strange way.
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