Sounds like you're referring to the colour grading of the show which is a process applied after the delivery of VFX shots (we usually get to see how it's developing though).
Interview I recently did with Camille and Cédric from @pierredetear.bsky.social about my experiences working on @thewheeloftime.bsky.social S2 and S3, a career in VFX and how I got started. Available now on YouTube and Spotify
🎶 "The best part of waking up is... #TheWheelOfTime at #1!"
Happy another #WoT week, #WoTSkies. Remember, we'll be talking all about the show VFX this Wednesday at 8pm ET with @andyscrase.bsky.social & Brian shows, plus #JordanCon2025!
7/ The internal glowing viens were a book description we also conceptualised. @framestore.bsky.social contributed the idea of seeing Moiraine's bones silhouette through her illuminated skin
6/ A Sakarnen prop was used on set, containing dozens of LED lights and used in CU shots of Moiraine to cast interactive light onto her hands and face. It helped make the glowing Sakarnen feel more 'real'. The Sakarnen prop was replaced with a CG version in post
5/ Lastly, the Channeling / Sakarnen behaviour was fully realised after discussions I had with Rosamund Pike about her performance / movements, and her thought processes that went into that
4/ As this didn’t exist in the books, we had to visualise it all from scratch. Inspiration came from light painting photos, art installations of wind blowing through huge sheets of plastic and the volumetric sculptures of Janet Echelman
2/ The resulting final shots from S3Ep5, some minor adjustments made from the original concepts. Main challenge was figuring out how to work our way up to the fully expanded Sakarnen power shot as Moraine Channels into it
