Since I had completed most of the preliminary experimentation, I proceeded with filming alongside a friend who agreed to help. I attached the recorder to the shoe by threading it through my trousers, then taped the recorder cable to my calf to prevent it from getting tangled while walking.

To approach participants, I used the following strategy: after setting up the location and framing the shot, I would approach people who didn’t seem too busy, introduce myself briefly, explain the project, and describe what I was asking of them. Surprisingly, many were willing to help, but if the activity seemed too complex or time-consuming, people tended to decline. As a result, I couldn’t follow through with my original plan of attaching the recorder to participants’ feet—many were hesitant once I began explaining that part. So I plan to analyze footage from sessions where I filmed alone, record footsteps separately (ADR), and decide later whether to layer in my own footsteps to match the visuals.

The first shoot took place at the Japanese Garden with the cinematographer from UCL. There were no people nearby, and those inside the building declined to participate due to work. As it was our first shoot, I focused on testing the feel and timing with the assistant cinematographer.

The second shoot was at LCC. We started outside, and since Victoria was on campus, I asked her for help, and we shot together. To be honest, I wasn’t yet comfortable approaching strangers, and after being rejected 4–5 times early on, I became even more hesitant (I made excuses).

The third shoot was inside LCC, near the staircase on the ground floor. I met Emily, a student from Illustration, and we filmed together—my first collaboration with a stranger. She participated willingly, and the footage came out nicely.

The fourth shoot took place in the central hall on the first floor of LCC. Although I wasn’t sure whether to film there, we decided to shoot as much as possible regardless of whether it would be used later. Hannah, who was viewing an exhibition, agreed to participate. I found the passage to the side room visually interesting, and the footage came out well.

For the fifth shoot, we moved to the stairs in the LCC Media Block. A person who had been watching us film previously expressed interest, so I asked if he’d like to join. He enthusiastically agreed. His name was Shiloh, and he walked down the stairs very slowly, giving the video a different atmosphere.

The sixth shoot took place at Tate Modern. Initially, we planned to shoot in the Turbine Hall, but it coincided with the Offprint event, and we were told we needed permission to film inside. So we searched for another location and found a small passage above the front entrance. Oli, who was resting there, agreed to participate. The result was a cinematic scene that I really enjoyed.

For the seventh shoot, we filmed on a tree-lined path near the Thames Link in front of Tate Modern. In this case, the person came before the location. I saw a man standing at the entrance with a stroller and thought it might be interesting to film with him. After asking, he said he was waiting for his wife and child. When they arrived, his wife agreed to participate. I asked if her baby could also walk with us, and she said yes. Since the baby walked very slowly, it was difficult to keep pace without looking back, but the scene turned out meaningful and intriguing.

The eighth shoot was in Whitechapel. I originally intended to film in an outdoor clothes market, but it had already been dismantled when we arrived. Fortunately, while getting coffee nearby, I had a chance conversation with a café chef who agreed to be filmed.

Lastly, we shot near Tottenham Court Road with a friend. There was a nice alley near his house, and we filmed there. Although we captured some great footage and exchanged fresh ideas while reviewing my previous work, I felt that if he had had more free time, we could have created even more compelling scenes together.

Honestly, I can’t say I’m completely satisfied. I wasn’t able to feature the range of ages and ethnicities I initially intended, and the locations ended up being mostly urban. However, as I continued filming, I became more comfortable approaching people and better at selecting locations with strong visual impact. If I had the chance to shoot again, I think I could create more satisfying work. But unfortunately, both my friend and I are now busy, and I have little time left before submission, so I must move straight into post-production.

Still, this project gave me a chance to involve public participants in my work for the first time, and I feel a sense of accomplishment from that. Although I was discouraged by the initial rejections, I overcame my fear and embarrassment and successfully encouraged participation from many individuals. This aligns with the relational aesthetic principles of participation and disruption.

Next, I will begin the ADR and editing process, which I plan to document separately.