Our visuals rely on electronics: black lights, flashlights, a glowing smiley face, lasers, phones, an iPad, cameras. Mid-shoot, we realized those electronics were almost out of power.
Batteries were dimming. Lights weren’t hitting the same. The little details we depend on to sell the mood were starting to fade, and it forced us to stop and actually look at the setup. Nothing had failed yet, but it was close enough to be a warning.
There were too many props, too many ideas, and too many moving pieces all competing for energy and attention.
We also noticed things are getting to cluttery so this week we will strip things away a little
I’ve stepped outside my shell and stopped overthinking every move. I focus on performance and momentum, knowing we can always edit out what doesn’t land. That shift alone has unlocked better moments every week—including this one.
Emmy’s process has dialed in too. She films herself in the bedroom with a green screen behind her, which has been working surprisingly well. She shoots her parts on Thursday, we do a preshoot for me, and then on Friday we load her footage onto the iPad and shoot like she’s on the TV. It keeps everything controlled, repeatable, and fast.
That rhythm has changed everything. Editing went smoothly. The song came together without friction. We’re not fighting the process anymore—we’re working with it.
And that’s where Devil’s Horseshoe is at right now: fewer distractions, clearer roles, and a system that actually supports what we’re trying to do.
