During all the exterior shoots, we were running at the rate of 10-15 minutes per shot, since we lost sunlight at 5pm every day. After 5pm, we would notice significant continuity errors and we couldn’t transport and store HMIs (Boosters) on a daily basis. “If we use boosters on top of the existing general light, the illumination naturally must be done in a much high key” (Alton, 1995, p.130). Hence, I always prepared a plan and lit my wides and didn’t overcomplicate them during close-ups. 
 
Night shoots were the most fun to shoot, since we were mostly indoors and warm, and the rest of the crew and cast could relax while we were planning out our set ups for the day. Pearl(2022) was a big inspiration for nighttime indoors. The childish, gleeful unease that it creates with it’s overly saturated color and an unhinged character was something we drew from to integrate into As you wish. Since there was no budget for oil lamps inside the bedroom, we used candle and moonlight (Arri Sky Panel) as our only sources. Candlelight was naturally very soft on the face, and additionally, the Black Promist filter, created the right amount of halation around it. When a slight amount of fill or backlight was required in close ups, Aperture MCs saved my life. Most importantly, the support of the camera department made the whole process significantly faster on shoot days. 

 In order to get the film within time and to properly payoff one setup at a time, we had to cut down a couple of scenes. This was a conversation we had during pre-production but our director was determined in having all the elements and actors as a part of the film, so we trusted that gut. It was a learning experience for all of us.