Ports are enormous and repetitive, all horizon lines, containers, and cranes, so I framed to use that: wide anamorphic compositions that let the geometry of the place carry the image. Anamorphic gives an industrial subject a cinema-wide frame and a scale a flat corporate look never reaches.

The film moves between two distances, aerials to establish the size of the operation and the patterns only visible from above, and close-ups of the logistics systems for the detail that shows precision. Between them, the port reads as both vast and exact.

I lit and exposed for very mixed environments, hard sun on open yards, shadow under structures, artificial light inside, so I worked on false colour throughout to keep exposure balanced as the film moved across those spaces.