the lighting designs. He explained; “I’d have an idea in advance of what the set-up might be musically so I painted out lighting design and storyboards in advance. Those were in a constant state of flux,” Producer Allison McGourty commented “It was like a theatrical production—Bernard designed different lighting for each session to give [each song] a different feel.” MacMahon said that he wanted the film to look like a painting “I wanted a rich color palette so it looks like a Velázquez painting,” he said, with the lighting falling off to heavy shadows in the corners of the picture to conceal the dolly tracks in the studio. MacMahon filmed principally on an Arri Alexa on a camera dolly. The decision to have the camera in a constant state of subtle motion was designed to give the film a musical rhythm and momentum. As the musicians in the film were forced to record their tracks in a single unaltered take, MacMahon decided the camera should do the same and choreographed complex single take moves to mirror the tempo of the music whilst landing on the musicians the moment their part came to the foreground. McGourty explained “he would rehearse with our house band before the performers arrived, and rehearse the camera crew with all the dolly moves so they would know when the lead vocalist would be singing; then it would go into a chorus, then the guitar or the banjo. There was a huge amount of preparation, because it was not just the music that had to be captured in one three-minute take—we had to capture the whole experience on film, and make it look natural, and do it smoothly enough that we didn’t interfere with the performers.” MacMahon said he took some of his inspiration from John J. Mescall's cinematography on James Whale productions like the Bride of Frankenstein. MacMahon wanted viewers to feel like they were standing in the studio watching the performance, so the camera never moved lower than a crouch or higher than someone standing on their tip toes, nor did the camera zoom in closer than a guest in the studio would stand. A test session was filmed with Frank Fairfield and The Americans to perfect the cinematic style of the film. In stark contrast to this policy was his use of extreme macro photography when the film discusses the recording system. Shot using