Cinematographer Dick Pope says, “When I [was involved in the post-production stage], I had copies of [Turner’s] paintings in the DI suite. We lit them with normal lighting. I was able to reference them against the paintings on the screen and make sure I wasn’t going off on a tangent when in fact it was important that the paintings be true to the way they had been painted. I didn’t want them to be really warm or really cold. I wanted them to be true to what they were.”