Afterglow

One shot, three minutes forty, no cuts. The whole video is a push from about twelve metres out to a close, timed against the track.

Approach

A single take removes every editorial decision except one — where the camera is at any given second. That constraint made the prep long and the shoot short. We rehearsed the move for two days against a playback of the track and shot it on the third.

The lighting change is practical and runs on a timer, so it lands in the same place every take regardless of what the camera is doing. Once it was set there was no way to fix a mistimed run in post, which concentrated everyone usefully.

On location

A disused glasshouse outside Rouen, one night, eleven takes. Take nine is the video. Takes ten and eleven were technically cleaner and neither of them holds together.

Delivery

A three-minute-forty video, an edited sixty-second cut the label asked for and never used, and a set of stills. No grade beyond a contrast pass — the glasshouse did the colour.