When I first read the script for The Other Car, written and directed by Alex Moore, I knew we were in for a challenging shoot. The story is a psychological thriller that demanded a visual style as intense as the plot. My job was to create a look that would immerse the audience in the tension and uncertainty that drives the film

The Realities of Independent Filmmaking

Working on The Other Car had its challenges, typical of independent filmmaking. With a tight budget and only two nights to shoot, every decision had to be spot-on. We didn’t have the luxury of time or extensive resources, so we had to be smart and creative in how we approached every aspect of production. This meant making the most of our equipment and locations and ensuring that every moment on set was productive.

The Importance of a Skilled Crew

In a project like this, having a skilled, hardworking team is crucial. Each person’s contribution made a big difference. A particular challenge was pulling focus at a very shallow depth of field, especially when shooting at T1.3 on the 50mm lens. Fast lenses are fantastic for capturing detail in low light, which was essential for our night shoots, but they also make the life of an Assistant Camera (AC) much more challenging. Ben Lawford, our 1st Assistant Camera, was key in this area. Using the DJI LiDAR focus system, Ben ensured that every shot was sharp, even in the toughest conditions. His expertise allowed me to concentrate on composition and lighting, knowing that the technical side was in good hands.

Creating the Film's Look

Alex Moore and I shared a clear vision for The Other Car. We wanted the film to feel both intimate and expansive—a story confined to the space of a car, yet touching on broader, more ominous themes. To achieve this, we used the Red Komodo camera paired with Canon Sumire Prime lenses—20mm, 35mm, and 50mm. These lenses were perfect for capturing the low-light, moody atmosphere that the story required. The fast lenses allowed us to keep the focus tight on the characters, making the surrounding darkness feel even more threatening.

Lighting for Suspense

Lighting was a crucial element in building the suspense of the film. Since most of the story takes place at night, we needed to use light carefully to heighten the tension. We used Aputure INFINIBAR LED lights to mimic streetlights and car interiors, creating a natural yet eerie glow. This approach allowed us to shape the scenes with light, adding depth and making the shadows feel almost like characters in the story.

In the car scenes, we aimed to capture the feeling of claustrophobia—the sense of being trapped on a dark road with danger just outside. 

The Role of Storyboarding

Storyboarding was a crucial part of our preparation. It allowed us to visualize key moments and plan the composition, lighting, and camera movements in advance. Given the tight shooting schedule, these detailed storyboards ensured that we were ready for each shot, minimizing downtime and keeping the production on track.

Tackling the Car Scenes

One of the toughest parts of the shoot was the driving sequences. Instead of filming on location, which can be risky and complicated at night, we used an LED TV to simulate the moving environment outside the car. This allowed us to maintain control over the lighting and timing, making sure every take was consistent and realistic. The LED TV projected street scenes that, combined with our lighting setup, created a convincing sense of movement without the need for actual driving scenes.

The Power of Collaboration

The visual style of The Other Car was a result of close collaboration across the entire team. Alex Moore and I spent a lot of time discussing how to use cinematography to support the story. Our producers, Ashkan Hashemi and Dylan Mitchell Duplessis, were instrumental in supporting our creative decisions, while Ben Lawford and Gwilym Young, our 2nd Assistant Camera, executed the shots with precision. Kevin Wang and Willow, our gaffers, played a key role in bringing the lighting design to life.

Reflecting on the Experience

Working on The Other Car was an opportunity to push the limits of what we could achieve with limited resources and time. Every choice, from the lenses to the lighting, was made with the goal of pulling the audience deeper into the story and making them feel the tension that the characters experience. This film is a testament to what a dedicated team can accomplish when everyone is working towards the same vision.

As we approach the release of The Other Car, I’m excited to see how audiences react to the visual journey we’ve created. It’s a film that stays with you, not just because of its story, but because of how it’s told visually.

Credits:

  • Director: Alex Moore
  • Producers: Ashkan Hashemi, Dylan Mitchell Duplessis
  • Director of Photography: Williams Pinto
  • 1st Assistant Camera: Ben Lawford
  • 2nd Assistant Camera: Gwilym Young
  • Gaffers: Kevin Wang, Willow
  • Sound Recording Engineer: Chewy Temel
  • Continuity Supervisor: Katrina Magat
  • BTS Photographer: Nina Franova

Cast:

  • Jade: Franca
  • Adam: Troy Nankervis
  • Mystery Woman: Tahlia Crinis