Exterior Shot 2 Scene 1

Map painted in Photoshop from brick-work asset design created during Pre-Production 

It's just enough that it's there to fill in an essential blank, but not too much that it will deter from the action in the frame. 

Excuse the darkness, but area's will be highlighted further down the line via Lighting, Displacement maps and utilising the use of fogging in frame. 

The Moon is a PNG image file created in Photoshop and saved without a background. This in turn, had made it easy to place our moon design into the frame wherever we need it. 

The set from above (above) 

The background silhouette buildings are simply the buildings created by Bo Lee at the start of Production and squashed down to be super thin, just to get our point across. 

The Moon is an Image Plane with one layer rendered, background excluded and exported as a PNG file. 

When imported and composed in the frame correctly, a glow with an intensity was added at an attribute of  0.150. 

As the image is background-less, the glow attribute only affects what is on show, in turn, this is the moon. And so, in turn, it’s a nice graphic- 2D looking moon, that works well in the scene, and will move as the camera moves, without the need to add it in in post-production. 

Whilst I was at first initially hesitant to use fog in the film, whilst working through the shots, and the way things have been composed, we have used it more as a stylistic weapon to mask up elements that we don't want the audience to see, and cinematically, it adds a very plausible element to the frame, where in the environment, the shapes and the environment are a little bit goofy and warped. So it's a nice balance to strike, and the blue really works in the way I wanted it to. It meant changing a few colour attributes in the attribute editor to literally create blue fog, but in complimentary with the blue textures lathered on the modelled attributes, it allows the night time element to the frame to consume itself in it's own colour palette, which I really enjoyed about it. It has this nice balance between, mysterious, goofy and friendly, with the animation that goes into frame as well, as goofy as it is, that itself will compliment the friendly aspect. With the wet concrete as well, it will help over-all create a collective moist, environment.

All in all, it strikes at a point that when an audience may expect it to turn left into a cold and ominous direction, it actually turns right, by instilling this wacky animation into the frame.

And all that essentially is essentially dangerous to look at when 'not in camera view', is fixed when actually in camera view, and the fog is in, and the textures are in, and all of the assets work off of one another as a nice and big collaboration.