Miles Ahead – Final Installation

Hello! If you’re new (or did not see our installation),
please watch the trailer above


Hair, Make up and Wardrobe

The biggest key consideration in the art direction was development – we felt that it was important to see Miles’ spiral into psychosis from a cheerful and chirpy vlogger to a deranged and desperate student to a calm and calculated killer.  There were many considerations that went into showing this.

Happy and chirpy vlogger – Hair down to show carefreeness, wearing primary colors to show joy.

Deranged and Desperate Student – Initially wearing a cap as a symbol of hiding something (like gloves on Disney characters, really), progresses to a messy hair. She also removes shirt as a symbol of her ‘letting go’ of sanity.

Calm and Calculated Killer – Tied hair and now she wears a lot of black.


Another consideration for showing development is the use of lighting – from a bright, cheery day we see the gradual darkness sinking in (literally and metaphorically) into a dark mysterious room. Then back to an eerie bright day where Miles is seemingly alright, calm and collected, and then back into a darkness where she loses her mind.

From there the scene is slightly lit by red and orange lights to symbolize her dark state of mind, but since she still has grips to be calculative and analytical, we see a bit of the background.

Perhaps the most apparent appears in this vlog where she goes from calm and collected (brightly lit) to sinister (ominous red light) to longing (still on ominous red light) and back to calm and collected (brightly lit)


In post production, I added an overlay of a video camera to enhance the idea of vlogging with a running timecode and blinking recording light (what a doozy). I also added some minor color grading to mute the colors as though it has not been treated.

Perhaps one of the most subtle (but painfully worth it) change I made in this scene was making the battery blink red, it was to symbolize Miles snapping into her psychosis rage as she slowly drains herself of her sanity.

Some audio elements I’ve included were subtle background noises that hints to the state of mind of the character – if she is clear-headed and happy, we hear birds chirping, if she’s tired we hear crickets and if she’s losing her sanity we hear the buzz of neon lights and the hum of a compressor.  Perhaps one of the most distinct sounds was the door’s slamming that is metaphorical of her snapping into her psychosis rage.


The treatment of the CCTV was minor – I desaturated the color, added a bit of grain and added a camera number to the scene. There were a lot of other elements I considered such as the moire/interlacing of the cctv footage, adding blur or even vignetting. But I chose to stick to the most simple monochrome, grain, and text as I felt it conveyed the idea of CCTV most simply and allowed details to be captured in the little actions.

In the murders, I created contrast between the two scenes by juxtaposing the chaos of the murder against the eerie stillness of the corridor. I felt the idea of helplessness was conveyed stronger through a subtle action of switching the CCTV footage to a quiet corridor to emphasize the drama of the murder.

It is also another subtle addition was the moment to moment aspect, with the camera static to show the passing of time. I held on longer for occasional parts to build suspense and abruptly cut on some parts to build a sense of mystery and discomfort in the viewer for the unknown.

During the consult, it was mentioned to not include the sound as it creates an eerie silence through the whole sequence. So yeah… I totally did that too.


The biggest challenge as an editor finding ways to allow the CCTV footage playing to support the moments in the scene – be it supporting the narration, supporting the emotion, or showing the inner state of mind of the character. However this was the best I could create a relationship between the two footages.

Firstly, I supported the narration of Miles being overworked with footages of students studying late at school. Intercut with the occasional empty, dark foyer of ADM to show the hour, and back to the studying studying.

Secondly, I supported the narration by also showing what was playing on Miles’ laptop as she loses her mind – utilizing freeze frames and zooms, we are able to see the little things that drives Miles into psychosis.

Thirdly, I show Miles’ transition into insanity by gradually altering the lighting between the CCTV footages. You might have noticed majority is shot in the night. This is motivated and planned as darkness is what clouds Miles’ mind as she falls into psychosis.

Fourthly, one subtle thing I added was using the CCTV static to show Miles’ state of mind. When she trails off, switches topic or forgets what she is speaking about mid way we see the static play as though we lose the thoughts in Miles’ mind.

Lastly, as the assassinations takes place, we are given a view of Mile’s current hideout. Without the camera overlay, we are observing as though we are omniscient viewers who are looking at the space through an idle camera.


Before entering the audience is invited to observe the space through a glass opening in the staircase door. They will see the ominous red light as well as silhouettes of photographs on the wall.

Upon entering, the echo-y location will give a sense of discomfort and forces the viewer to be quieter. The viewer will then walk towards the red light curiously to discover the hidden space.

At the hidden space, through the use of lighting and scale, the viewer will first see the conspiracy board on the wall with strings and a spotlight illuminating the map. The viewers are then invited to play videos of Mile’s vlog or the CCTV surveillance footage in the sequence of their choosing to provide a mulit-linear narrative.

For example, if they watched the last video first, they will find out the fate of Hui En, but not the motivation or reason, if they watched the first video first, they will find out Miles’ initial personality but not how she turns murderous. If they watched the middle, they will find her sink into psychosis, but not the fate of her roommate.

The viewers may then either interact with the photos and articles on the wall or look closer into the board. From the articles, the audience will establish the demise of Mile’s sister through the accident, and from the photographs establishes how deeply Miles misses her.

They may also interact with the items on the table such as the weapons or the medical documents. Through this we are given an insight of her psychosis and the extent of the damages from the accident.

You may see the articles, medical letter and medical report here
(4D Documents)

On the wall, the audience will see photos of themselves captured prior to the installation that provides a sense of personal touch to the the story, as Miles is amongst one of them.

The viewers are also invited to inspect the articles on the wall which were painstakingly curated to give a deeper understanding of Miles and her research. It features academic articles, articles of murder and articles about accidents. From here, we understand deeper about Mile’s obsession with being the best in school and how thorough she is in her research to conduct clean, untraceable kills.

After the exhibition, the audience are given a deeper understanding of Miles.



I learnt the importance of character research in character-driven stories. Through understanding characters more intimately it is easier for us to sympathise whether they are likeable or unlikable. Characters are still, at a core, people, and people are filled with likeable traits and unlikeable traits. Through balancing this we have a more three dimensional character with clear goals, clear reasons to do things and clear reasons for behaving a certain way.

I also learnt about the importance of details – through sound design, colors, lighting, wardrobe, make up, props and editing we are given a more intimate understanding of the character just visually than through what the character does or say. Sometimes the strongest influence is something we are unaware about. Subtlety is the key to influence.

But on a related note about installation – I learnt about how there is a stark difference in private spaces and public spaces. Through private spaces we are given a more intimate, honest and profound understanding of a character, but in a public space we are given a more curated perspective, where we see how the character ‘wants to be seen’.

It leads back to the Johari window where we are given various parts of the character through space and form.

Okay, now it’s time for me to rest.

thank you ‘Miles Ahead’ team. 

to see the process click here

Interactive Narration – Process


I was part of the team as a producer/director for this project. Together with the team, I directed the overall image, look, vibes, tone, theme, and sound of the project. I also was the editor.

I compiled my director’s notes detailing the acting, the visual and audio elements I planned to incorporate and tasked my talent, cinematographer and art director to convey this. Of course, they had many contributions to add and we planned all logistics before the shoot.

(this details all our considerations in the shoot)

Clicky Click to expand

Hannah was in charge of researching the character,
Joel was in charge of looking into the shots and
Hui En was in charge of space and art direction


You can read our script here: Script

I worked with Hannah to get the script out (which she wrote majority of it). There were a lot of backstory to fit into the script and without making the vlogs too long, many things had to either be hinted, mentioned briefly or ignored altogether and put into the space instead.

We looked VERY much into the backstory of the character in order to achieve a strong sense of motivation in the character as we are dealing with a very difficult idea of sympathising with a unlikable character. She looked into Ed Gein, Ted Bundy and Aileen Wuornos.

More details on that will be on Hannah’s OSS.


I worked with Joel to achieve the various footage. I told him about the Johari Window which details the four types of perception of character. The open self, the hidden self, the blind self and the unknown self.

Each of these perception is achieved through various elements in the scene and thus capture various essences of the same character. It was an interesting concept to play with and I thought it was well conveyed in the final output.

We also looked into the cinematographic style of the game ‘Dexter’, ‘Her Story’ and the movie ‘Purge’.

Dexter reference photos

Her Story reference photos.

More details on Joel’s OSS post.


With Hui En,  I worked with her on the overall look of the final board that will be the almost center piece of the installation. We looked into Miles’ character, past and things she will look for in articles. We explored various ‘textures’ of paper as well – from newsprint, printing paper, and even instax.

I think I may have stressed Hui En too much with Newspaper clippings
and printing documents

Visual references for ‘Map of Conspiracy’

More of that on Hui En’s OSS

Once all the pieces were set, we began production.



The day started with shooting Shi Min’s murder scenes. We choreographed the before, during and after the murder. As the camera was a wide and far away shot, we got away with little flops in choreograph and ‘special effects’. However we had to exaggerate actions so it can be seen from afar.

We “borrowed” a ladder from one of the rooms to achieve the high vantage point in the CCTV footages and sometimes went upstairs to shoot the space below.  We also utilized wide angles in some scenes to allow a more CCTV look.

We aimed to capture the space (the corridors that seems to end in a distance) or people in the space to support the narration (students doing work). Oh yeah, we also took a trash bag from the cleaning aunty as the body bag and stuffed it with our bags to act like it’s heavy – yes we are impromptu about the murder as Miles was.

Final outcome of the CCTV

We then proceeded to shoot Mile’s vlogs in Hannah’s hall. We shot both the day and night scenes through the use of lighting in the room to show various times and states of mind. In our attempts at budgetry, we used stacks of books and wallet as a makeshift tripod, a piece of kitchen towel over the lamp as a diffuser, and blutac as a makeshift holder. It was budget, but it worked.

Fortunately for us, Hannah was very comfortable in front of the camera and handled the challenge of conveying a deteriorating state of mind very well – I supported this through the usage of lighting, space, wardrobe, and hair (or make up).

 Final outcome of vlogs

dont you think it looks like we REALLY shot it at night?

One challenge we faced was one scene where we had to place the camera just right on a tilted surface as we really wanted the dutch angle shot in this moment – so Joel and the team crafted an elaborated choreography where he will position the camera from the bed in the darkness to a perfectly timed series while we chose strategic spots to hide, which you can watch below (please excuse the off sync, it wasn’t the best take used and I got locked out too often)

If you look closely, you can see Joel directing hannah through the art of charades



The day started with shooting the second half of the vlogs. I was very fortunate to have an extremely dedicated and talented team that transformed a corner of a space into a hideout with a board, string, newspaper and lots of tape. We originally intended to shoot the scene in our actual space, however decided against it as the audio would become echo-y and inaudible.

So we sourced for a hidden classroom and shot there. We also used the table in the room and hid a lot of stuff on it. Once again we see the return of our budget ways and secured a red LED light with tape, diffused the light with a piece of paper and held up the board with a stool taken from a classroom next door (don’t worry we returned everything).

We also considered about Mile’s acting and how the lighting and space complimented it. I was very thankful that Joel (the cinematographer) was very observant to lighting and lit the scene so beautifully to subtly show the state of mind in the character without it looking too obscure.

We then shot Deryck and Hui En’s murder scene. We once again borrowed the ladder and shot some CCTV footages.

Watch our Behind The Scenes here
(but sorry, we didn’t really shoot day 1 cause it was so busy)


We began setting up the space for the installation. With my art director’s vision, we first set up the projector then placed the ‘screens’ the images were going to be projected on.

I watched youtube videos about projection mapping and utilized a grid method to determine where the two videos will be, then fit them to a grid projected on the board. We then worked backwards and placed our articles, threads and photographs around the screens and tied threads to link articles and photographs together.

Some challenges we faced was firstly finding a way to mount the board onto the wall, we tried double sided tape, blutac and even propping it against a stool – however we ultimately used an easel as it was the most stable and probably something Miles would have used in a space like that.

This was the final layout for the installation.

More details on the installation and video in the next post here

Interactive Storytelling – Projection Mapping Research

I remember when I was visiting Japan during my post-ORD trip, I visited Disneyland (the happiest place on earth). The most significant thing I remembered was my first projection mapping experience where they turned Cinderella’s castle alive with stories, and a flurry of colorful lights and even to the extent of warping it’s structure.

There is something magical about projection mapping that alters the structure of a building and allows us to see a structure in a new light (no pun intended).

Projection Mapping (or video mapping) is one of many things on the rise in installation art. It is the usage of everyday video projectors, but instead of projecting it onto a flat screen or surface, light is mapped onto any everyday surface turning any 3D shape into an interactive display.

It is a form of spatial augmented reality sometimes it is done on furniture, cars, and even familiar or famous buildings. It allows artists to fit any desired image onto the surface or object – adding dimention, create optical illusions or create motion into previously static objects.  It is a recently popular trend of a form of audio-visual narrative.

There are many ways that projection mapping is utilized, and it is primarily grouped into four categories.

First being video jockeying (or VJ’ing) where live events are augmented by projections that are fully dynamic, controlled live and consist of pre-programmed videos and combinations of effects and overlays. This is allows live concerts to do the impossible and turns the stage alive, dynamic and interactive.

Secondly, we have theatrical mapping. This is where scened are ‘cued’ on demand in a choreographed order. The images mapped onto the space are interactive and synchronized to the dance or on stage performance.

Thirdly, we have interactive mapping . This is less performance based and more directed towards turning a space ‘alive’ through a looped video or interaction with the environment.

Lastly, we have video mapping. It is a single fluid video that is not interactive and plays from beginning to end.

Another recent local projection mapping done in Singapore

I was fascinated by projection mapping as it allowed forgotten and familiar spaces to once again be sparked into life again through a unique form of interactive space and I was stoked to experiment with this method to allow my space to come alive in a narrative way.

Sequencing Images – Final Video


Password: call


I explored the two running timelines from Memento and utilized their concept of color for ‘present’ sequence and against black and white for the ‘past’ sequence.

Cinematographic Elements

I utilized the idea of match cutting to show the audience how every part of the car (or just quick passing moments) he seem to remember his past relationship in a sort of mnemonic device way. The match cut also in a way connects their lives together and connects the present to the past. Emphasising on the overarching theme of connection.

Action by Action

We see how the boyfriend reaches a tipping point after tension reaches its climax in the carpark. We do not see the boyfriend, however his hands show his state of mind and emotion. The blurriness of the shots show the dynamism  and action of the moment, how his grip and slap is jarring, and the blurriness in the hand is the only thing the girlfriend sees before she is slapped. It also shows the state of mind of the boyfriend as unsound and blurry.

Moment by Moment

In this moment by moment sequence, we feel as though the argument seems to get stretched out over a long period of time – this puts us in the mind of the girlfriend, and we start to notice various elements in the scene – the upset and annoyed looking girlfriend behind, and how the boyfriend progressively becomes more exasperated with her in the foreground. We also start to notice the body language more as she is seated uncomfortably and almost seem to make herself look smaller and guarded.  The way the light goes from light to dark through the sequence gives the audience the idea of passing streetlights while also symbolic of the character slowly spiralling into a darker mind.

Recurring Motifs

 I felt the phone in modern day connects and sometimes reconnect lives, and there is a constant visual and audio element of phones. We see the phones in frame used in different ways – to remember, to reconnect, to report and to inform. There is also audio elements of texting at the start juxtaposed against the calling at the end, the phone ringing, locking, beeping and vibrating in various points of the film, the progressively louder and more frequent beeps as the tension rises. Phones and their associated sounds play a huge part in this sequence.


There is also an element of distance in the sequence – from the start we see the two characters phyiscally close, then they appear in the same frame but physically apart, then they appear in the same sequence without being in the same frame, and finally we see the main character alone in the world. This was a subtle play in the relationship between the two characters throughout the sequence as we see how they are slowly torn apart.

Audible Elements

It was a challenge working with sound as I’ve always taken a point that audio should build a scene and bad sound is always abruptly noticeable. It is a complex in-between of logical and unorthodox sounds that build a scene. I built emphasis on certain moments of the films to let the audience figure out the moment by cutting to black and playing just the audio, such as in the reporting scene and the ending call. It gave a different vibe as compared to the moments with images and we can see the clear contrast it gave in those moments.

Recording Audio

It was a bit of a difficulty to source for a sound of the couple’s voice – they either were too westernized or looked generally odd coming from their mouths. So we opted to do it in the old fashioned voice over. We sat in an unused classroom and recorded their argument and the ‘999 what’s your emergency‘ line. The argument had more gaps of silence between them, and considering the timeframe I had to increase the tension of the argument I layered various parts of their argument into the scene. Such as Joel’s ‘seriously’ and ‘I’m so done with your lies’ were shifted around a lot to give a vibe of them talking over each other, typical couple argument moments from experience, I suppose :’)

Diegetic Sounds

There is an abundance of layered diegetic sounds, from the birds in the background, to the creak of the chairs, to the hum of the car on the expressway, and to the little sighs of the girlfriend. It was interesting to be really sensitive to the sound around me to the extent that I sat in a carpark and my dad’s car to document the little sounds I hear in them.

Non-Diegetic Sounds

This was a challenge as the non-diegetic sounds have to be dramatic and not too unorthodox. I found that non-diegetic sounds was most effective in highly dramatic and tense moments so I opted to maximise the potential of non-diegetic sounds in the slap scene. The increasing in volume and frequency beeps of the phone heightens tensions, builds on the recurring motifs of phones and evoke the idea that perhaps the girlfriend has been avoiding his calls that caused him to reach his tipping point.


Throughout the short, there is a soundtrack in the background. The music fades out at two points – after the slap and towards the end of the film. Both are used to create emphasis on the audio at that moment in time.

The ending was a little of back and forth as I couldn’t decide what ending to put so I played around with either Joel or Felicia’s voice. But I mixed with both as it gave a proper closure.

Various endings


This was a different experience from making short films as the images are static and the audio elements added narrative parts into the film without images. It was interesting having a non-dialogue driven film and this experience allowed me to be a bit more sensitive to sound around me. It was also interesting to explore various way to distort sound such as the volume and using low and high pass filters to make the voice sound muffled, over the phone or to create a sense of space.

Charissa’s Edit

Felicia’s Edit

Joel‘s Edit

To see my process, click here.

Sequencing Images – Process and Behind the Scenes


The friend whose life we looked into was an ex with an ill temper. We thought about what life he could be living now, whether he has a new girlfriend, what job or school did he end up going to, and what he could be doing.

We decided upon a dramatic short where we slowly discover that he is now a successful businessman although through a crooked way.

The conceptualization began with splitting 13 frames into the various parts (because the other 7 were planned for opening and closing)- the fight, the abuse and the arrest, followed by arching out the scenes. We began looking for the dramatic peak of the story and finding ways to increase the tension between the two characters – in both the subtle and the apparent ways through framing.

After much thought, this was the final paperwork for the short.

Synopsis: Joel, a successful businessman was formerly a criminal who ended up in prison for his crimes. Throughout the whole film, there were many places and things that reminded him of the past.  He was determined to win his girlfriend back, with his current success to impress her.  However, on the day he was supposed to meet his girlfriend for the very first time ever since his released, he was stuck in a sticky situation.  It was revealed that his success came about dealing with drugs, and he had to forgo his meet up with her to carry out a deal.

To see shotlist click here
To see storyboard click here


Before the shoot Charissa got to experiment with make up to show her bruise to further emphasize on the abuse of the boyfriend. Thus, we see the make up in action in two scenes.

The majority of scenes were shot in a car, this was because through a confined private space we see the characters in their truest/honest form. We considered wardrobe as well through the two scenes to differentiate the two times – in the present scenes he is wearing a suit, to show his wealth and his , however in the past scenes he is wearing a leather jacket (the stereotypically douchebag-iest outfit of the Grease era).

After editing we realized our storylines in the edit were going different direction so we reshot various scenes depending on our edit – we shot their ‘pre-dating’ scenes, their ‘reconnecting’ scene and a ‘prison’ scene.


I studied match cuts from various films and one example was that from Psycho, which is the murder scene in the shower. The drainage is matched to the eye. In Forrest Gump, matching expressions are match cut against each other.

So, conveniently there’s youtube video detailing some great examples of match cuts.

The post-production process was straightforward as the shots were selected from those that best conveyed the emotion and mood of the moment – the color treatment was cool tones to evoke coldness of the moment but brighter to show how his mind is a little clearer, juxtaposed against the darker shadows in the ‘night’ scenes to evoke the emotional/mental state of the character.

I added cinematic elements such as a different aspect ratio and subtitles – it’s both practical and to make the film look more cinematic.

All in all, 7 tracks of diegetic and non-diegetic pain and agony.

To see the final product and an explanation click here

Sequencing Images – Unconventional Sequence Narrative of Memento

There’s going to be a spoiler for ‘Memento’, so…
if you haven’t seen it.
Go see it.

I remember 3 years ago, my friend told me “hey, you like Inception, right? Go see Memento – same guy who made Inception made memento“. I was never really a non-blockbuster watcher of films but since he really wanted me to I guess I gave it a shot.

Perhaps one of the most memorable element of the film was the ending and how it tied up the unconventional non-linear storytelling that was present in the film. The sequence was not just a gimmick in the film, it was defined by the story itself. Through this technique we are constantly discovering truths with the protagonist and encountering obstacles in real time. This constant jump back and forth was done in a way that is exciting, unique and surprisingly, comprehensible.

What he describes the structure as a ‘hairpin narration’, where two linear storylines run concurrently throughout the film and jumps between the backward sequence done in color and forward sequence done in monochrome. The two storylines tie together at the end completing the loop and everything just seem to tie in together.

But if this is a little confusing, here’s Christopher Nolan explaining it himself.

Watch from: 4:33 – 6:33

I was intrigued by this technique of storytelling and I looked into incorporating this unconventional structure into my next assignment

Object and Representation of Self – My World

Nature has always inspired me; the way branches curled, twisted and burst into a fan of leaves, and the way every inch and detail of a plant is carefully crafted to ensure its survival. I remember exploring forests with my first Kodak camera to capture the trees and skies, over time it just became my go to spot to become inspired.

In recent years, my little quiet worlds have been torn down to make space for housing buildings for our growing population. Those forests I used to run into are now fenced off with the roars of chainsaws echoing inside and the trees I used to sit under, are piled onto trucks, only to be never to be seen again.

It’s not that I am against the modernization, it’s just a little heartbreaking to see your little worlds disappear one by one. Ironic those condominiums are now named after the trees they stand on.

These little quiet worlds hold memories for me – the place I brought my first camera to, the day I learnt to never run on mud in my favorite shoes, and the day I was chased by wild dogs. I suppose over time, I’ve grown protective of my little private worlds and choose to keep it a secret just so it’ll remain what it is –

my place of quiet solitude

See my self representation works here, or if you’re interested in the process here.

Okay bye

Object and Representation of Self – My Object

Object and Representation of Self

I have always been fond of exploring the world around me, ever since I picked my first camera I’ve been diving into forests across Singapore in search of stories and solitude. This interest, of course, started from my childhood.

Digging through from my box of childhood items, from dusty albums of my baby photos and my old chou chou, I found my toy binoculars. I was immediately reminded of the days I believed the world was a forest and hid behind furnitures like they’re trees. I looked through like I was the next Indiana Jones searching for a hidden temple

I aimed to capture this sense of wonder, adventure and excitement my binoculars brought me through my portraits in a series called ‘search‘.

Story: The thrill of being an explorer is more than just the destination, it is also in the journey. As a child, I’ve always been excited to find new places around my home. my parent’s wardrobe they told me not to rummage through when they’re not around? Check. The space behind the washing machine they told me not to squeeze between? Check. My sister’s delicious white chocolate hidden behind the fridge? Check. It was always being mischievous and not getting found out that excited me, rather than achieving it.

To me, my binoculars were my eyes to avoid getting caught. 

Technical: Through cropping, there is a strong emphasis on two things in this picture – the binoculars and the smirk. Framing the binoculars in the center draws the user’s eyes to it first bringing forth the idea of play and adventure. The viewer’s eyes are then drawn to the smirk bringing forth the idea of mischief. Cropping below the eyes draws attention away from the the face at first glance, but also allows the binoculars to be my ‘eyes’ in this portrait. The bright, warm lighting sets a happy and pleasant mood to emphasize the idea of childhood play.

Story: The world around me wasn’t always steel cabinets, plastic chairs and mahogany tables – it’s towering trees and forbidden rock temples. My house was an unchartered island waiting to be explored. I was always curious.

They were my portal to a make believe world. 

Technical: This frame consists of a midground and a background. Inspired by Wes Anderson’s framing this emphasizes the space, whilst still creating depth in the image. The wide framing also shows the setting – a forested world and the subject being small is to show a juxtaposition between the huge make believe world and a small character in it. Capturing it in a subtle low angle upwards shows the world and how the trees seem to tower over the character, but not in a menacing way, but in a mysterious yet exhilarating way that invites you to explore. The subtle purple hues evokes a sense of magic and make believe of a world imagined.

Story: No longer a child, now I see the world as it is – maybe not entirely whimsical – but much more serious. I guess I sometimes feel like a retired Indiana Jones, no long thrilled by his treasures from his adventures, and just being part of a world.

Now, it is a piece memory of what made me excited to explore.

Technical: Shooting from an over the shoulder with a high angle brings forth the idea of reminiscence, longing and nostalgia. There is a foreground, a mid ground and a background – the subject in the foreground, speaks of the protagonist in this story, looking down at his old toy binoculars (the midground) in reminiscence of his adventures in his younger days in the forest (the background). The warm hues and bright lighting adds a sense of warmth, joy and safety.

click here for the next series and here for the process

okay bye