Specific units and specific positions, including the shoots where the answer was a window and a bedsheet. The most repeated lesson on this page is that a wide lens removes your ability to hide a light stand.
The trick is not that they shot on tape formats. It is that they bypassed the tape entirely, took the clean signal off the camera head, and then fought the whole pipeline to keep it interlaced.
Louise Collins on her directing debut, Sylvie Wiley's "Stranger In My Sheets": "We filmed the video at My Aerial Home in London with a small team of four: Sylvie, who co-created and co-produced the concept, myself as director, casting director, and editor, aerial dancer Izzy, and Ernest Tu, our DoP."
The rig needed reinforcing after testing because the torque was, in the DP's words, "really quite something". Then it needed a custom snoot so the light beam stayed narrower than the ball.
De Sousa cut locations to a single hike, relying on cast, camera movement and tight coverage to turn a small setup into a tense, darkly comic genre short.
Four visual worlds, the same ten shots repeated in each, one Steadicam day. Shooting that wide meant every unit had to live outside the set, which decided the entire lighting plan.
A car-crash sequence written for dawn had to happen at dusk instead. Rather than cheat it, they reversed the shooting order and chased the blue hour down.
Reid turned a personal trauma into Brief Somebodies by rehearsing on camera, shooting chronologically and trusting actors to build the chemistry safely.
Hopkins rehearsed chef Jon Pde’s work into actor Matthew Gouveia, used a RED Komodo X with Zeiss Super Speed lenses and shot during short windows of real service.