This project has brought me both meaningful insight and valuable lessons. Although my previous work was also interactive, it involved the participation of people outside the gallery who were not necessarily prepared to engage with art. That made the process intimidating and often difficult to control. In that sense, this project was filled with challenges, failures, and learning experiences, which I would like to share in this post.

One of the most critical yet overlooked aspects of this work was recording. Footsteps were the primary sonic element of the piece, both symbolically and structurally. They were important not only to my own artistic intent but also to how the audience would perceive the work. However, during filming, there were too many things to manage and too little time to properly focus on recording. As a result, the recording process was rushed and lacked proper technical procedure, which later demanded much more effort during editing. Some of the recordings were of such poor quality that I had no choice but to discard them and re-record the sounds through post-production. Despite having some experience with recording and sound editing, my failure to prioritize this aspect during the shoot was clearly my mistake. Through this, I learned the importance of thoroughly preparing when recording in conjunction with live filming.

To break it down further: before the shoot, I should have tested the audio by connecting headphones to ensure the footsteps were being captured with sufficient quality. Footsteps involve constant movement, so during a long shoot, I should have anticipated that the initial setup might shift and affect the recordings. Moreover, since I was using clip-on contact microphones, which are highly dependent on proper contact with the recording surface, I should have checked their positioning frequently and more carefully.

Another issue was that I didn’t record the participants’ footsteps on the actual day of the performance. Although I should have asked every participant if they were willing to wear a microphone, I became hesitant after a few initial rejections. I prematurely assumed that attaching the microphones would discourage people from participating, and as a result, I stopped trying altogether. In hindsight, I regret this. While it’s true that time was limited and things had to move quickly, that itself should have been anticipated and prepared for. Securing more filming time in advance would have solved much of this. This brings me to my second point of feedback: I should have been braver in approaching people, and I should have devoted more time and effort to audience engagement.

That said, testing different microphones and techniques beforehand, and eventually recording the footsteps through post-production, gave me new experiences and knowledge. I found the post-recording process genuinely interesting. I had often seen Foley artists syncing sound to video in documentaries or behind-the-scenes footage, but this time, I personally experienced how difficult it really is. Watching the video in real-time while trying to match each sound precisely was more challenging than I expected. This also sparked a deeper curiosity about how Foley artists sync sound to visuals and their methods of crafting sonic textures.

One aspect I do regret is that I focused only on recording footsteps. I had initially considered recording ambient sounds as well, but I eventually decided against it in order to emphasize the footsteps. In hindsight, I believe it would have been wiser to try both versions—one with ambient sound and one without—and compare the results. Making a decision based purely on assumption rather than direct experience was short-sighted. Next time, I should be prepared to explore multiple approaches simultaneously and leave room for experimentation.

Another shortcoming was in how I managed time. I underestimated how long the shoot would take, assuming it would be simple. In reality, it took about ten hours to capture just a few shots that ended up in the final video. A significant amount of time was lost in the idea development phase. Once a general concept is established, I now realize it’s crucial to quickly create a production plan and a draft version. Doing so allows for earlier identification of potential problems and helps in devising detailed solutions. In future projects, I intend to prioritize fast planning, rapid execution, and continuous feedback to produce more refined and complete works.

This issue of time management also affected the overall flow of the video. While I personally feel satisfied with it, I do think the pacing might come off as a bit slow to some viewers. If I had tried filming in multiple locations or experimented with different compositions, the final piece might have been more engaging. Creative experimentation almost always helps develop a piece further. For example, I could have built a faster-paced video with shots lasting around 20 seconds each, or incorporated a more diverse soundscape. I can’t be certain that these versions would have turned out better, but there’s a difference between rejecting an idea after trying it versus dismissing it without trying at all. This is why experimentation is necessary—and it starts with decisive planning, prompt action, and methodical feedback.

All in all, this project has been deeply meaningful and fairly satisfying for me. Still, I can’t help but feel regret over the things I failed to pay attention to—things that could have elevated the work’s quality—and the opportunities for experimentation that were lost due to poor time management. Furthermore, the fact that some initial ideas were never implemented and the plan was altered midway is something I need to reflect on. I must remember that decisions should be based not solely on thoughts, but on feedback gained through action and tangible outcomes. Nevertheless, I consider this project a valuable experience—especially for having experimented with participatory art outside of the gallery context and for the lessons I gained through video production.