It would have caused problems, because we would have been trying to shoot in rain and sleet. Underschultz was completing another project when Azzopardi, the producers and production designer Gavin Mitchell all went down to Louisiana for location scouting. When they returned to Toronto, they selected locations to match what they had seen, and so, for example, the front of Osgoode Hall was transformed into New Orleans' famed Jackson Square. In February, with principal photography over, Underschultz brought a crew to New Orleans for four days' shooting, which yielded Mardi Gras footage as well as wider establishing shots with actors' photo doubles. The cinematographer adds that staying with a longer lens also helped him somewhat fake the weather.
Viewers can take that as maybe heat shimmer, instead of just the shallow focus the lens is giving.
Underschultz worked with the new Zeiss Ultra Prime lenses, even though he did not have a complete set because they had yet to come out on the market. Equipment supplier PS Production Services provided the crew with an Arri 535B for its A-camera. The 535 performs well with the Ultra Primes, as the lenses were developed in a collaboration between Zeiss and Arri, and the camera also let Underschultz achieve some of the off-speed work that was required. Every cinematographer has a particular look he or she likes, and Underschultz achieves his by usually shooting Kodak 5274 Vision 200T negative stock. I think it's the most natural-looking film stock.