They lost the dawn, so they shot the sequence backwards

Francesca Pavoni shot Giada Bossi's film for Arssalendo in Cunardo, northern Italy, and the most useful thing in the interview is a scheduling recovery.

We couldn't shoot the scene at dawn, but we did shoot it at dusk, so we ended up shooting the whole sequence back to front, dimming the lights and trying to follow the blue hour.

Dusk and dawn have the same light and opposite direction of travel. If you shoot the sequence in reverse order while the sky darkens, cutting it forwards gives you a sky that brightens. The lights come down as the sky comes down, and the two changes cancel.

Camera ARRI Alexa 35

Lenses Cooke S4i primes, one package for the whole film

Why 120fps was required

Square tungsten gelled to fake sodium streetlight, with dark patches left deliberately

Cold corner Astera tubes with cyan

Water dance two moving-head lights matched to the choreography and the track's bpm

The film was all shot with the same camera and lenses: an Alexa 35 and a set of Cooke S4i… we needed to shoot at 120fps, so it ticked all the boxes.

Prep included a three-day acting workshop and a full mock-up of the entire film shot on a phone and cut to the music. Crew named: Bianca Peruzzi (lighting designer on the water sequence), Filippo Patelli (co-editor), Fabio Marchisio (acting coach), Stefano De Vivo (lead).

Budget, shoot days and crew size: not stated.