Moon Knight TV Series - Duat - Realm of the Dead / Barge Concepts

View of Tawaret's barge from the sand. I loved working on these pre-production concepts as It enabled me to work in a more painterly,  expressive way, focusing on mood, lighting and colour.

View of Tawaret's barge from the sand. I loved working on these pre-production concepts as It enabled me to work in a more painterly, expressive way, focusing on mood, lighting and colour.

Aerial view of the barge showing infinite numbers of souls now turned to sand. Lighting was so important to this sequence, made more complicated by a need for a slightly unearthly coloured sky and how that effected the scene.

Aerial view of the barge showing infinite numbers of souls now turned to sand. Lighting was so important to this sequence, made more complicated by a need for a slightly unearthly coloured sky and how that effected the scene.

Closer study of the Barge bridge, looking at detailing (such as the golden doors) and lighting - both of the overall environment and of the barge itself.

Closer study of the Barge bridge, looking at detailing (such as the golden doors) and lighting - both of the overall environment and of the barge itself.

The final barge set showing how close the concept was to the final look.

The final barge set showing how close the concept was to the final look.

Moon Knight TV Series - Duat - Realm of the Dead / Barge Concepts

I had the pleasure of working directly with the show Production Designer, Stefania Cella, on a wide variety of environments for Moon Knight. In this case, it was the Duat or Egyptian realm of the Dead. The barge was designed by the production Art Department and it was my task to place this in the appropriate environment, light and add final details before working on camera placements with Stefania, producing a series of Keyframes.

The barge itself was designed to be larger than life and to glide across or above the sand. I added the palm trees and reed roof as per Stefania's notes.
The dead or sand people were key to the environment and I spent some time looking at how they would look - especially regarding erosion after time. More concepts I hope to add showing this development work - upon approval.

3D elements were assembled in Blender / Maya before being lit in Keyshot. Maya was great for setting up scale models and modelling additional elements, Keyshot for lighting and looking at realtime placement of cameras. Additional 3D was created in Zbrush. Final keyframes were finished in Photoshop.

Thanks also to Head of the ILM London Art Department Jason Horley with whom I worked on this show - and to Richard Anderson, who worked on some early designs for the barge whilst at ILM.