To overcome certain practical challenges shooting inside a van presented, a built-in strategically placed mirror was used to observe both characters in the same frame. The Artemis viewfinder on Pope's iPad made it possible to examine what was achievable with minor disruption and to then discuss alternatives for
impossible angles.

Later on that warm sunny day in late August when Pope and Macqueen headed to the Lake District, where the entire production was filmed, was a stark contrast to the following day's torrential rain which continued throughout the four-week prep and into the six-week shoot. For essential weather cover from the rain, the disused factory where the production and all other departments were based was transformed into a stage in which the camper van could be placed inside.

Lighting was stylised but natural to achieve a heightened sense of realism. "I try to visually enhance the way I imagine the world we're creating should look; either shaping to control natural light or adjusting my lighting fixtures to achieve the perfect and most appropriate light on the actors, architecture and landscape," Pope says.

The low-voltage car battery powered practical lighting in the van was modified by adding tiny fixtures and in-line dimmers to create different moods. Production designer Finlay added Venetian blinds to control how much could be seen outside and Pope created a backdrop of light and foliage outside the windows. For day scenes, the slats of the blinds were partially closed with bright and diffused daylight brought in through the windows. For night work, very low ambient light was brought in through the slats.

The locations where the camper had been parked for exterior shots were used as a lighting reference, showing what the view outside the windows should look like.

Pope filmed with an open gate, full sensor ARRI Alexa Mini, framing at 1.85:1. The camera's light weight and small profile was perfect for both hauling up hills as well as shooting inside the van's tight confines. Pope says that "1st AC Graham Martyr faced tough challenges in finding somewhere to work from in this limited space,
but miraculously always kept things sharp."

The camper's many windows also offered Pope a variety of angles. By popping out the roof lights he could film straight down on Sam and Tusker as they lay in bed. "It was all achieved by keeping it real and without removing many fittings or cutting the camper in two," he says.

Prior to lens selection, Pope arranged for Macqueen to watch a screening of Motherless Brooklyn, Edward Norton's crime film Pope photographed using Cooke Panchro/I Classic Primes. Macqueen was impressed by the results of the lenses, describing them as having "a rounded and natural feel which reels the viewer in."

Subsequent testing featuring the principal actors, confirmed Pope's initial feeling about the lenses' suitability, choosing them once again. Pope, who filmed Mike Leigh's Mr Turner using the original Cooke Speed Panchros, finds the updated Panchro/I Classics retain the vintage lenses' characteristics.

"They haven't lost the feel of the originals, with their tiny front elements, compact profile and light weight. Over the three films I've shot with both the original and updated versions, I have become attached to the Panchros' look, partly because they're not clean, modern looking or super sharp, but really rather painterly and cinematic. Like the originals, they feature subtly flawed glass aberrations, and when used wide open, can offer focus fall-off at the edges of frame - all the attributes Harry and I wanted for Supernova," says Pope.