As co-cinematographer on IC814, I was responsible for the global exterior visual language — shaping the atmosphere, geography and scale of the series. From the fog-shrouded night landings to the epic cloudscapes and location work across Kathmandu and Kandahar (shot in Amman and Aqaba in Jordan), the visual approach focused on clearly defined tonal identities for each location rather than relying on traditional titles or exposition. Texture, light and atmosphere became the primary storytelling tools, allowing transitions between Kathmandu, Delhi, Amritsar, Lahore and Kandahar, allowing the world of the series to feel intuitive and immersive.

A significant part of IC814 involved creating the illusion of scale far beyond what was physically possible, combining large-format photography with an extensive visual effects pipeline. The aircraft and airport environments were designed to feel completely real and grounded, demanding a highly collaborative approach between cinematography, production design and VFX from the earliest stages of prep.

Rather than relying on fully digital solutions, the aim was always to root the work in physical light and atmosphere. Wherever possible, practical aircraft, locations, weather and environmental elements were captured in-camera, with visual effects used to extend, enhance and unify the world. This required complex lighting strategies, large-scale rigs, atmospheric work and careful control of reflections, surfaces and colour across multiple continents.

The challenge was not only technical but logistical, with significant effort dedicated to making each aircraft, runway and airport environment feel tangible and authentic. The result was a seamless blend of real and digital worlds, allowing the series to move between locations and scales while maintaining a consistent, believable visual language.

Beyond principal photography, I remained with the production for months to oversee the visual integrity of the work in post, working alongside the VFX supervisor to ensure that lighting, texture and atmosphere remained consistent with the photographic language established on set.