When we were building the wooden box, we thought about keeping it together with hinges so that every side of it could rotate and be taken out easily, which has enormously helped with the lighting and camera positioning.
Since we had the chance to work with very fast lenses, we didn't light the box from the interior and relied on the reflections on the wood and skin from the outside lights.
We went over-the-shoulder for the whole movie to match the tone of the story but also to simulate the car shaking.
We got all the breathing and shuffling and most of the hitting we needed from the RØDE NTG2 on set, but the shouting was full of reverb from the studio set and had to be replaced. While re-recording the shouts and cries, our actor got back into the same state of mind that he was in during the shoot and everything matched pretty well.
Since it’s our first time working with an Atomos Shogun, which is fitted with an incredible monitor, we were thrown off by the amount of information we could see on it. And because our look was mostly what we wanted on the Shogun, we just did some level adjustments in DaVinci Resolve to make the image visible on a non-professional screen.
The upload was a tiring process. We wanted both the film and it’s BTS video’s format to be Apple ProRes 422, as it was the format we shot in, but no bandwidth in our country could allow for such big files to upload in under 24 hours. We got lucky enough to find one place that had an optical fiber connection and got both files on Youtube in under an hour.