In order to help the production create the kind of space necessary, ARRI provided the  set with 8 SkyPanels and 2 L-Series L5-C, 2 L-Series L7-C, and 2 L-Series L10-C. Nader Chalhoub recalled: “All the sources, entirely in LED, were connected to a DMX console, controlled by Francisco Garcia Morteo and allowed for a very meticulous control of the intensity and color of the spotlights. This system also made it possible to program light variations and visual effects such as the rotation of the planet Mars through the porthole of the spaceship or various alarm signals that could be triggered instantly. The wide variety of pre-recorded gelatins allowed us to find the right atmosphere for each scene.”

Being able to work with ARRI lights on this production proved to be beneficial for the young filmmakers. Nader Chalhoub elaborated: “Having been able to make all these color palette choices already on the set will greatly facilitate the calibration phase. We were well underway in creating a ‘look’ already on set.”