With a budget of about $68,000, it was shot over seven days. All of the interior scenes were shot at sound stages inside Kling Studios. Most of the exterior shots were filmed at Bronson Canyon, a set of caves at Griffith Park in Los Angeles that was a popular location for low-budget films. The exterior scenes of the tracking station were shot at a television station on Mt. Lee, not far from the Hollywood Sign. Screenwriter Martin Varno said it was the first television station built in Los Angeles, but was only being used for emergency broadcasts when this film was being shot there; it had also been used during World War II to broadcast to allied fores overseas. Varno secured permission to film there simply by calling Los Angeles city officials and asking, something he said nobody else considered trying because they assumed the city would not allow it. Varno was familiar with the station because his father, Roland Varno, appeared in the first dramatic television show released in Los Angeles and it was transmitted from that station. For this film, Los Angeles charged a fee of $8 per actor to shoot at the station, but the crew could be any size. All shooting took place outside the station. Most of the night scenes shot there were shot during the day, and the crew often had to find shadows to shoot in or block out the sun to give the impression of nighttime. Producer Gene Corman said of the shooting: "That was one of the more mobile units I've ever been involved with. Normally, everybody chases the sun; we were chasing the shadows."
The alien costume featured here was the same as the one used in another Roger Corman film, Adolescente delle caverne (1958). This was done to save money, as Corman and his brother Gene Corman often tried to incorporate existing sets, costumes and other elements from previous films into new ones for financial savings. Screenwriter Martin Varno said the Corman brothers were so conscious of their spending that "'cheap' was the main word in their vocabulary." The monster costume scenes in "Teenage Caveman" and this film were shot within about two weeks of each other. The costume was modified slightly for this film. Ross Sturlin wore the costume for the scenes in both "Teenage Caveman" and this film. Flming was very difficult for Sturlin because it got extremely hot inside the costume during the exterior shots. John John M. Nickolaus Jr. was director of photography for the film, and Jack Bohrer was the production manager. Daniel Haller, who went on to become a film director himself, worked as art director on this film. He did much of the manual construction work on the set himself, and brought a trailer in to the sound stage so he could sleep there and between work sessions. Among the props he built was the rocket-ship, the frame, which was made of plywood that had been cut into circles, then covered with a plastic sheet and spray-painted to look metallic. Haller also created blood cells that the characters looked at under a microscope, and the baby aliens (which resembled seahorses) they looked at under a fluoroscope. Alexander Laszlo composed the music for the film. Almost the entire crew went on to work on L'attacco delle sanguisughe giganti (1959) with the Corman brothers and Kowalski.
Due to his dissatisfaction with his treatment by the producers, screenwriter [Martin Varno pursued two successful arbitration cases; one was for underpayment, the other in response to producer Gene Corman's original story writing credit, even though Varno claimed to have written the entire story himself.
Both Roger Corman and Gene Corman were present for most of the film's production and involved creatively as well as financially. Gene was more involved with running the day-to-day operations, while the more experienced Roger supervised and provided guidance to both Gene and director Bernard L. Kowalski. Some rewriting was done as filming progressed, and Kowalski called it a collaborative process that involved himself, the Cormans and the whole crew. Screenwriter Martin Varno, however, said he was not happy with how the filming process went, and that the Cormans changed dialogue and story elements without his consultation or permission. He said it reached the point where he called his agent and said, "I am not working for these [expletives] any more! I am sick and tired of the whole thing!"
When star Ed Nelson was asked what he remembered about the film during a 2003 interview, he admitted, "Not much," but he said that Roger Corman and Gene Corman] were very knowledgeable about film and treated the material "light-heartedly."