Kosinski has a strong design aesthetic. “Before we came onto the project, in terms of the Melbourne studio, there was a great production design process with Jeremy Hindle and specifically about the Spiderhead facility,” reveals Hellier, who iterated the most on the weathering of the prison that has existed for 50 years, to make sure that the size and scale were reading correctly. “They also engaged an architect, Adam Spychala, who has done a lot of 3D renderings of Brutalist buildings that he has designed himself, that had caught Joe’s eye. There was a thorough booklet of the design of the facility, not just of its structure but also the interior fit-out. By the time we came onto the project to build the production model, there was a lot of great reference from them about the look and what they were chasing. As an extension of that, Ryan [Tudhope] had a great idea of ​​what the priorities were for the visual effects, in terms of texturing of the building, the reality of the concrete and making that feel tactile, and where to invest our time on such a big asset build.” Initially, the new aspect was the fairly shot production schedule. “Then we had a hiatus and came back,” Hellier adds. “We finished the majority of our work in the first part of the project, particularly the facility shots. It was about getting the texture asset team, look development and lighting running concurrently so we could get shots through to get the asset approved.”

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