Before each Super 8 filming session, I spent time storyboarding ideas through drawings and written notes. As Super 8 film is limited and cannot be reviewed immediately after shooting, I felt it was important to carefully plan the imagery I wanted to capture beforehand. The storyboards helped me visualise compositions and movements, and my notes allowed me to record ideas relating to atmosphere, symbolism, and the emotional qualities I wanted the footage to convey.This planning process was particularly useful when designing visual parallels and match cuts between different locations.

The filming process was an important opportunity for me to develop my understanding of filmmaking techniques and gain practical experience working with analogue film. Throughout the project, I learned how different film stocks could be used to achieve specific visual outcomes. For indoor scenes and lower-light environments, such as the projection-based footage, I used Kodak Vision3 500T, as its higher sensitivity to light allowed me to capture detail while maintaining the atmospheric quality of the images. For outdoor sequences filmed in brighter conditions (such as the nature scenes with Ada), I used Kodak Vision3 50D. Receiving the first five reels of developed footage was a particularly valuable stage in the project, as it allowed me to critically evaluate my work and identify areas for improvement. While there were many shots that I was pleased with, viewing the footage as a whole revealed that I needed more lingering and contemplative imagery. I realised that some sequences would have benefited from slower pacing, longer takes, and a greater number of still shots

The Super 8 format itself proved highly beneficial to the project. Its grain, softness, occasional imperfections, and analogue texture created an aesthetic that felt deeply personal and intimate. The footage carries a home-movie quality that evokes memory and nostalgia, reinforcing the film's exploration of identity, connection, and becoming. The unpredictability of the medium, including light leaks and subtle variations in exposure, also contributed to the dreamlike and ethereal atmosphere that I sought to create.

As the project developed, the Super 8 footage naturally fell into four distinct visual categories: nature imagery (from winter to spring), domestic scenes, footage captured during walks through Hammersmith, and projection-based shots featuring imagery cast onto ada. Each category contributed a different layer of meaning to the film.