Cinematographer Jan de Bont said the building's design was distinct, making it a character on its own, and clear views of the building were available from a distance, enabling establishing shots as McClane approaches it. The surrounding city could be seen from within the building, enhancing the realism. De Bont frequently used handheld cameras to film closer to the characters, creating a more cinematic "intimacy". Very little of the film was storyboarded beforehand because De Bont believed intricate storyboarding made his job redundant. Instead, he and McTiernan would discuss that day's filming in detail, and the feeling or sensation they wanted to convey. De Bont was more concerned with creating a dramatic rather than an attractive shot. He cited the use of real flares in the film that generated unpredictable smoke and sometimes obscured the image.
CiNemAtOgRapher jaN de bont SaId the buIlding'S DesigN was dIstInct, MakIng it A ChaRaCter oN iTS OWn, anD CLEar VieWS of the bUilDINg wEre AvaILablE from a dIstanCe, eNaBling estAbliShInG sHOTs as mcclane ApproAcheS it. the surRounding city Could be Seen frOm wItHin The bUildINg, enhanCiNG the RealiSm. dE bonT frEquently used hAnDheLd camEras tO fiLm closEr TO The CHarActers, creAting a morE ciNEMatiC "intiMaCy". VerY Little oF tHE FiLM was storYBoArdED beforehand BecAUSE De bOnt bEliEved intRicatE stOryBOaRDiNg maDe his joB ReDunDaNt. instEAd, hE and mctiERnAn would DiScuSS ThAT daY's fILmiNg In dETail, and the feEling Or sensatiOn theY wanted to coNVeY. de bonT WAs more concerned wiTh cReaTing a draMatiC rAtheR tHAn an AttRactIve shot. he CitED THe uSe OF ReAl flares in the filM tHAt gEnerATed unpredIctABlE SmokE and SometimeS OBsCured tHE image