The costumes and settings were natural, and objects, such as Ajrak, appeared to a naturalistic manner. Minimal makeup for Mehak to show authenticity of her trueself. Wardrobe for all the characters were chosen according to availability at the moment. Transport and fuel was prior arranged for a smooth shoot.
The key focus during production was to use natural and natural filming without staging or directing anything. Filming was done in natural settings with available light and natural settings. I was also working with my cousin who was managing the camera, achieving sound awareness, and directing myself, it was quite a challenge in terms of planning and flexibility.
The outdoor scenes were shot in the daytime when there is the natural light in order to have the effect of natural lighting and to ensure clarity in the image. The timing of shots was affected by the weather and shifting light conditions particularly when the camera was on a landscape and traveling scenes. I also adjusted exposure and camera location so that I did not over expose highlights.
In making the travel and movement shots, the hand held camera technique was applied to be realistic and personal in the action. This created a little bit of natural camera movement something that I consciously chose not to take out because it helps in sustaining the observational documentary mode. Where emotional and cultural moments were concerned, like in those where the Ajrak appeared, I did not pursue the unsteadiness of framing and the shortness of takes to enable the symbolism to build organically.
During production, sound was taken into consideration in order to eliminate unwarranted noise in the background. There was no sound effects or a play acted dialogue. The intent was to capture all the footage minimally manipulated in the pre-production.
In general, authenticity, cultural sensitivity and emotional honesty were the main values of the production process, not technical perfection.