Over Ice.

Over ice, a pour ends before the eye can register it. The cube breaks the surface, the liquid splits around it and closes again. As a director I wanted to hold that moment open and watch it play out as a piece of film, not a single frame. Light is the constraint, stated flat. At high frame rates every frame gets only a sliver of exposure, so the set needs lots of powerful lights. High speed ice film changes what a pour is. Time stretches, the liquid becomes a form with an edge and a direction, and detail the eye skips starts to read. I directed each take for that: where the camera sits, when the pour starts and how long the movement is given to run.