Resin was tasked with augmenting a number of shots that used practical models and animatronics. Resin’s visual effects work on the baby included adding and opening eyes, breathing, heart beats, temple pulses for sonic hearing, mouth and nose movements.
Resin designed and developed the look for 'Hunter Vision' as used in the show. The look took on a cellular quality. This was designed to work alongside a more digital looking version that was used in the title sequence (by others).
Resin created a completely CG prison loosley based on Pentridge and then adapted to suit it's Turkish location. The shot was constructed from only a live action plate of the actor in the window. The end shot pulled out wide to reveal the setting of the prison for the first time.
With only a green screen plate of the Native Hunter in the foreground a completely CG shot produced for a flashback sequence set on the Hunter's Homeworld and helping explain how they made their way to earth. The mothership in the low hanging atmosphere, pods streaming from the Homeward and Homeworld terrain are all CG.
Live action plate for the reveal of the rocket that was being constructed for the return to the Mothership. The following image shows this plate with the CG rocketship added. This was then added to a number of scenes throughout the later episodes.
One of the plates shot for the build of the Gulag scene which would reveal a tunnel full of Native Hunters. Resin was on set to supervise the shot with only 2 Native Hunter suits to work with the final shot was built out of around 50 different compositing passes.
An example of one of the many environmental shots where Resin provided matte painting work to transform the locations. In this case crane shot received snowy mountain peaks, foreground clean up and extension of grasses additional snow and atmosphere.
HUNTER POD | 3D ASSET