This painting started with a 3D model built by Niel Wray, which I then textured and lit in 3D. Then I painted on top of it. When they shot this series in the sixties, they were under a very tight deadline and on a very constrained budget, so overall, the set lighting was very hurried and it shows. Trying to extend these shots and make them look more realistic was often a real challenge or almost impossible. I tried to make this particular painting look like the stage they shot the episode on, with the orange walls in the back, the fake sand, and the fake stones. This panoramic establishing shot is two HD frames wide.