I've worked with the DoP (Director of Photography) Bruno Polidoro, who is amazing. We knew from the beginning that this film's aesthetic would be far away from the typical sci-fi one. We wanted to find beautiful shades of pink, and for the film to have a seductive and pastel colour. The tone of the pink changes throughout the film, getting darker and more dangerous looking as time passes by. The conversations with the art director Bernardo Zortea were also important, because since we had a pink light all the time, the colour of the furniture was important. We didn't want to have red, orange or yellow objects and sofas, because they wouldn't add a good contrast with the pink. So we decided to have gray, green and dark blue on the background, to create a good composition. Before shooting, we already knew the exact pink shade that we wanted for the clouds that were going to be added in post-production. We needed to know that so we could put the right colour gels on the lightings that were outside the window and illuminating the face of the actors. The creation of the cloud was a long creative process with the DoP and the two Visual FX artists. It was my first time working with VFX, but I'm very happy with the result.