The look for Guinness was defined by reference footage that we saw of real volcanic eruptions. After the eruptions ash forms a thick haze in the air that shrouds the scene in a diffused and de-saturated half-light. During test I experimented with day for night shooting and various levels of under-exposure. I found a combination that worked shooting only in cloud cover or under large silks. We attempted to use as many in-camera effects as possible and to infuse the camera work with a sense of urgency that is inherent in a disaster situation.