1
Shade
We pick the side of the street that is already dark.
The plot is shared between stills and motion from the first recce. Colour sits in pre-production, not after picture lock. Finishing is not a stranger at the end of the job, and the archive is named so another team can open it a year later.
We pick the side of the street that is already dark.
Stalls before the shutters of the next one.
Ceramics indoors once the street is useless.
Colour locked on the clay, not on the sky.
Stills for the crate, a cut for the buyer.