A film built around a single question: what does it look like when the room you are standing in becomes the thing you have been chasing? The set was a closed environment — four walls of LED, a polished floor, one figure. Everything else was a reflection of the work itself.
The whole piece was lit from the screens. No fixtures, no fill. The image you see on the wall is the image lighting the subject — which means the grade is the lighting plan, and the lighting plan is the grade. Every decision in post was a decision on set.
We shot in 4.6K open gate, anamorphic, on Alexa Mini LF. Lenses were Cooke S7 — soft on the highlights, gentle in the falloff. The figure is held in a slight back-light from the brightest panel; the rest is the room reading itself.
Worked closely with the director on the visual language: long lenses, no movement except the subject, every shot allowed to hold for at least eight seconds.
There is one cut in the film that takes 14 frames. It is the only one that moves at all.