Pite chose to work with a large ensemble for this piece to showcase complex choreography with simpler movement. At the beginning of the creation process, Pite created movement phrases before the rehearsals and taught them to the dancers; Lucía Piquero Álvarez, a professor at the [[University of Malta]], speculated in her analysis of the piece that the motif sequence was taught during this time.{{sfn|Piquero Álvarez|2021|p=462}}
Nancy Bryant designed identical grey costumes in the performance;<ref name=Anderson /><ref name=Jennings /> the dancers begin wearing grey coats,<ref name=Watts /> but these are later taken off to reveal grey vests and loose trousers underneath.<ref name=Jennings /><ref name=Anderson />{{sfn|Piquero Álvarez|2021|p=461}}<ref name=Anderson /> Jay Gower Taylor designed the sets,<ref name=Anderson>{{cite news|url=https://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/flight-pattern-the-royal-ballet-royal-opera-house-review-crystal-pite-flight-pattern-canadian-a7638246.html|title=Flight Pattern, The Royal Ballet, Royal Opera House, London, review: It has immense scale and ambition|newspaper=The Independent|last=Anderson|first=Zoë|date=19 March 2017|access-date=2023-04-10|archive-date=29 April 2019|archive-url=https://web.archive.org/web/20190429022507/https://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/flight-pattern-the-royal-ballet-royal-opera-house-review-crystal-pite-flight-pattern-canadian-a7638246.html|url-status=live}}</ref> with dark panels that open and close throughout the performance<ref name="Sulcas">{{Cite news |last=Sulcas |first=Roslyn |date=2022-10-21 |title=In London, Massed Human Misery and Communal Revelations |work=The New York Times |url=https://www.nytimes.com/2022/10/21/arts/dance/crystal-pite-royal-ballet-gregory-maqoma-ballet-black.html |access-date=2023-04-07 |issn=0362-4331 |archive-date=7 April 2023 |archive-url=https://web.archive.org/web/20230407194910/https://www.nytimes.com/2022/10/21/arts/dance/crystal-pite-royal-ballet-gregory-maqoma-ballet-black.html |url-status=live|url-access=subscription }}</ref> and manipulate the shape of the stage.<ref name=Crompton>{{Cite news |last=Crompton |first=Sarah |date=2022-10-23 |title=Light of Passage review – Crystal Pite's magnificent dance of life |work=The Observer |url=https://www.theguardian.com/stage/2022/oct/23/light-of-passage-crystal-pite-royal-opera-house-royal-ballet-review-flight-pattern-full-length |access-date=2023-04-07 |issn=0029-7712 |archive-date=17 December 2022 |archive-url=https://web.archive.org/web/20221217154619/https://www.theguardian.com/stage/2022/oct/23/light-of-passage-crystal-pite-royal-opera-house-royal-ballet-review-flight-pattern-full-length |url-status=live }}</ref> Tom Visser was the lighting designer,<ref name="Crisp">{{Cite news |last=Crisp |first=Clement |date=2017-03-19 |title=Crystal Pite's Flight Pattern at the Royal Opera House, London — profoundly moving |work=Financial Times |url=https://www.ft.com/content/f7a6be0a-0aff-11e7-ac5a-903b21361b43 |access-date=2023-04-09 |archive-date=9 April 2023 |archive-url=https://web.archive.org/web/20230409203737/https://www.ft.com/content/f7a6be0a-0aff-11e7-ac5a-903b21361b43 |url-status=live|url-access=subscription }}</ref> using dark lighting except at the end, when a column of light shines between two walls.{{sfn|Golomb|2023|p=307}}
