The real angle of the two wall panels don't join so seamlessly, and the distressing is primarily made in the layers on the image, but it does show how nicely the teacup roses grow from the outside onto the faded wallpaper and then fade into it themselves. There are some rose images on the wall, more organically placed and brightly colored, as a stage between growing and paper design.
This is where Rana will crawl into bed to be snuggled by the Caterpillow in the gathering darkness, listening to the rain and insect sounds.
In the morning, small beetles will be knitting on the nightstand. (Didn't know that happened in the morning until I just typed it!)
I have recently been dividing all the action/vignettes in the film into four "Akts";
And, through these four changes of lighting, the four seasons will also be shifting in a subtle way as well.
Part of what I'm expressing with Halfland is a game of perception concerning size and time. I keep altering those aspects throughout so that the viewer will be forced to assume the place has a certain reality.
If I make what is built relatively large appear to be impossibly small through tilt-shift effects at certain moments, I feel the audience's heart will naturally believe what is displayed overall is real because the level of detail denotes a certain reality to be something so "small".
Then what was also built at a very small physical scale is shown in relation to those larger elements, the ride of scale perceptions should get very fun indeed. Part of the effect I'm hoping for.
The shifting of time should occur in the same way. Too quickly to be our familiar experience, yet challenging our own perception of how it passes.
Each film series takes place during a Halfland Day.