Each scene had its own camera logic. The opening domino game I shot from directly overhead on a slow dolly out, the hands and the tiles reading like a board of their own. The rooftop beat is a flat top-down of Beykay lying on a bright patterned mattress, graphic and still.

For the mirror scene I laid a mirror on the desert floor so it held the sky, framed his reflection performing, then let the frame take the hit as a bat came down and shattered it. Elsewhere the camera does the work of the edit: a slow zoom pulls off a poured-liquid moment out to the mountains behind him, and a white-table set-piece runs a repeated, motion-control-style move so it cuts like a loop.

The roots-over-the-face tableau is the opposite, a held, painterly frame that pulls back slowly to leave an image rather than a shot. Handheld carried the squad performance, loose and energetic, so the one straight rap-to-camera verse had a different pulse from everything around it.