Equipment 

The language of the camera in the film is deliberately minimalistic and this is achieved through the combination of the Canon 60D camera body and the 18-55mm f/3.5-5.6 kit lens and the 50mm f/1.8 prime lens.

Use Of Lenses

The wide-angle eye-level static shots create spatial realism and emotional objectivity, and these shots anchor the story in a realistic world despite the speculative content. Through the deliberate placement of these shots in a static and observational manner, the viewer is placed in the role of a silent observer, and this further cements the subtle approach of magical realism rather than outright spectacle. The 50mm f/1.8 lens with its shallow depth of field is also very useful in the close-ups, where it serves to isolate the characters from the background and symbolically distance the characters psychologically across the timelines and identities. 

Shot Types

The extreme close-ups shot handheld from a high angle introduce visual engagement tactics particularly during the conversation between Rohan and Robert, showing their hand movements on the box desk. The slight shake of the handheld movement disrupts visual control during the running scene of Robert and Rohan, which symbolizes emotional tension and uncertainty as truths unfold. The static POV close-up plunges the viewer directly into the character’s point of view, erasing the distance between the viewer and the story. 

Camera Settings

While shooting the outdoor scenes I have kept the ISO to 6400, the reason for doing so is to confuse the audience about the current time line of the story. High ISO helped me create grainy visuals which gives the vintage feel to the scene, creating a space for the audience to assume the story is taking place in the past of the current time but later it will be cleared. In the end, the most significant aspect of my shooting was setting static frames for the masking shots, where Rohan and Robert were shown together in one frame. As both characters were played by the same actor, I used a Tripod to keep the frame exactly static and recorded the same scene in two final takes, each one with a different character and later masked them. 

Taken together, these camera decisions build a visual language that shifts from stability to psychological disturbance, reflecting the film’s own shift from curiosity to confrontation.