[Cinematographer Jas Shelton] relied on wider, more deliberate angles and longer takes in early episodes as we unravel the mystery of what happened to Jackie, and tighter, more frenetic hand-held shots in the later episodes. He also played with POV–essentially, going from an objective to subjective standpoint that was super character-driven. As Shelton puts it: “With Janelle, we used a probing and slowly moving camera style to get inside her head as she goes on her journey of discovery. The idea was to never let the camera settle until she comes face to face with Audrey Temple (Hong Chau) at the end of the second episode.” He also made effective use  of negative space in the frame, a counterpoint to the split screens the editors deployed later in post.”

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