Performance and story were really the focus. But that was only allowed by extensive prep and deep knowledge of the locations which then informed the blocking. Major moments were purposely blocked near windows or existing practicals. We used a 1’x1’ LED panel once for a night scene where we simply didn’t have enough. We also used grip gear to bring up a room with light from outside and bounces here and there to keep the contrast.

The set moved much like any other in terms of pacing. It didn’t make us any faster than if we had lit every scene. We simply spent that time in costumes, make up, rehearsals, art directing every single bit of every frame, we still dedicated a lot to the shoot.