The wind tunnel at iFLY is a glass cylinder standing in a room kept deliberately dark and lit hard from the inside. Point a camera anywhere in that room and I get the same thing in the frame: everybody standing behind me.
That is the job on a night like this. Not the flying, the flying takes care of itself. The problem is that the most interesting thing in the building sits behind curved acrylic, and curved acrylic reflects a whole room back at me from almost every angle I would naturally choose.
Angles first
There are 2 ways at it and we used both. The first is angles, and it is the one that does most of the work.
I walked the cylinder looking for the position where the bright things behind me would fall outside the frame instead of across the subject: the iFLY wall sign, the screens, the lit bar. On a curved surface those positions are narrow, and they move depending on where the flyer is in the tube, so I was not setting up once. I was moving constantly and shooting in the gaps.
Then a polariser, on 1 camera
The second is a polarising filter, for what the angles could not clear.
Worth being honest about why only 1 camera carried it. A polariser costs light, and this room did not have any to spare.
On a camera pointed at the tunnel, bright and lit from within, we could afford the loss. On a camera working the reception in the same evening we could not. So 1 body ran the filter and stayed on the glass, and the others stayed clean and worked position instead.
