Unseen Grace I and II

My workplace is constantly buzzing with noise, movement and light. (Pre Covid-19) However, the building takes on a second life during my late nights and weekend trips there.
I do meet the people that work during these hours more than most. Cleaners, maintenance workers, security guards etc. When the building is 'switched off', it transforms and develops a whole new identity, a whole new atmosphere.

The way street lights creep into corridors, the cool blue glow of the security guard's monitor, the river caustics hitting the ceiling in the summer, the way the lights on my desk forms a pool in the surrounding gloom of the open-plan office. These isolated moments feel incredibly cinematic.

The first film was something I’m proud of, but I didn’t want to end it with something moody. I wanted to expand on those isolated moments in a lighter tone.
Reached out to a good friend of mine, Hana, who has helped me with many films before.

Started with just 2 points 
1) An exaggeration of the first film’s concepts 
2) Showing that with dancing and colour schemes.

This was the very first sketchy storyboard based on many discussions.

For the music, I opted for a pop song; which I’ve never done before. Thankfully I had my Mum (a proper professional musician) as my co-composer.

Expanding on the idea of a silent disco, all the synths at the end of a bar were used to indicate a shift in setting.

Below is a very early track sketch we developed.

I used my usual technique of placing metronomes and kicks on every 8 bars in Premiere. This meant the rhythm was set at a very early stage with sketches. Due to this being a music video more than a linear film, the music and editing influenced each other much more than my previous films. As the lyrics and melodies change throughout the project, so did the order of shots.