The location for “Diversion” is the abandoned Fisher Flour Mill in Seattle, the same location as the “Ally” vignette from last year (and a number of other scenes later in episode six). In fact, the entire gunbattle sequence (as well as some upcoming continuations) were all shot in a single day, the day before we shot “Ally.” But while “Ally” was a tiny cast and a minimal crew, “Diversion” was a massive undertaking.

The day’s production was divided into three portions matching our three locations on the flour mill property, one for each scene. With the chaos and conflict that occurs, it was essential that we shoot the segments in order, so “Diversion” was our first and largest. It was a Sunday morning and the crew arrived bright and early to setup base camp, including our usual craft services table, makeup chair, and all the lighting required for a shoot of this scale. Because the mill property is long decomissioned, we had no access to power, water, or any other luxuries, and were on our own to provide everything we’d need for the day.

The bit-by-bit arrival of the cast and extras was a fun experience, as most of the actors for the day were brand new to the Night Zero scene. Although it was the middle of August the weather was overcast and a bit chilly by most measurements (unlike the scorcher we had for “Ally” the next day), but nevertheless everyone was in good spirits as we got started with the shoot.

The logistics of the day were particularly difficult for lighting, but that’s something we’ve come to expect as our production has grown in scale and location ambition. Shooting exteriors is always more of a challenge because the light levels of the background are uncontrollable, but that’s even more of troublesome when your cast is hiding in the shadows of a concrete overpass. To balance out their low light levels Eric brought out the big guns from the lighting truck, and we worked our way from one end of the overpass to the other, lighting and photographing each portion of the action in turn.

Aside from the lighting, another significant factor beyond our control was the mud, which also exerted its influence over our shoot schedule. The soldiers were always meant to be dirty, so they were fine with however we wanted to go, but Jana gave our skullhunters a nice mafia-henchmen theme that was centered on the white shirts and dress slacks. During the firefight they take cover, and two of them end up dead, but as soon as any part of them touched the ground it became caked in unremovable (and infinitely spreadable) mud. So a few on-the-fly changes had to be made to the schedule, as well as the fight choreography, to keep things consistent from each frame to the next and not coat them all from head to toe.

By early afternoon we had finished the battle, so we were able to wrap those who were not continuing and give lunch to the rest. A cold and dirty lunch, to be fair, but a nice break between the muddy morning and the chaos which was yet to come. But you’ll see that soon enough, after this quick check-in with our messengers.

Our trusty squad relaxes before battle.

Dusty and Connor know no fear, at least not at base camp.

The civilians for the day, as everyone arrives and gets into makeup.

Scratchers practice scratcher faces, you know.

On the way to the set, actor and production manager.

The crowd assembles as the cameras set up.

Phoebe gives the civilians their instructions, since they won’t be able to hear once the generators start up.

Blocking for the gunfight, and the holding of guns.

One actor waiting, nine crew members perfecting.

We had a film crew on set as well, watching us at work.

Waiting for a complex camera setup, for shots that didn’t even make the final cut.

“You talkin’ to me?”

Giving some sort of direction, I suppose?

Skullhunters in their natural habitat.

The two-handed point indicates the seriousness of the direction.

On-the-spot makeup, and close quarters for the camera.

Nothing like kneeling in the mud with a replica submachine gun to pass a Sunday morning.