Kestrel & Co shot a rooftop confrontation scene against a green screen on a studio stage with roughly four metres of practical set. Everything past the parapet — the skyline, the haze, the aircraft warning lights on distant towers — is a matte painting extension built to match the practical lighting reference photographed on the day.

Two of the four shots also carried a safety wire for a fall stunt, removed frame-by-frame using a hand-painted patch rather than an automated clean-plate solve, because the wire crossed the actor’s jacket on every frame and no clean plate existed that matched the wind moving the fabric. Roto on the actor took longer than the skyline build.