The second setting that we created was of the sea, in a stormy background. We focused mainly on the sea itself, needing it to look semi-realistic, it wasn't too difficult and it came out quite well in total. The sky was grey which fitted the setting of a storm, and we also made several clouds that were a different tone of grey, so they wouldn't get distorted with each other and not being able to see which one is which. We also added a few flashes of lightening, of which we used yellow card, as to look like lightening. This shot again is a long shot, to show all of the scenery on screen, it also lets us emphasise the distance he has to travel to some respect and as a whole really adds to the scene. This transition is also a jump cut and the scene itself is roughly 5 seconds long before it cuts to the next shot.
The third setting we made was the mountainous terrain that Abedewalay had to tackle. We decided to use dark grey card as the mountain face itself, as to represent rock, and for the sky we used a light grey, to show the stormy setting. There was no moving background within the shot so there was nothing really needed in that subject. The shot type of this setting is long again, for similar reasons to the previous ones, to emphasise the length of the journey and to allow the audience to see every detail of the locations he is going on. The transition of this shot to the next is a cross fade, this is to show how his journey has nearly come to an end and that he is almost at the well. The duration of this shot is 6 seconds.
This is the final location of the animation and we decided to make it a more green setting, as to show how the water is there and it is a more flourishing location. The floor is grass, so we decided to use green card to explain this, and the sky blue, which actually represented how all of his worries have been forgotten and everything is good. The shot of this scene is long-wide and shows the well, alongside Abedewale. The reasoning behind it being this shot is similar to the others, mainly to allow the audience to see all of the little details within the set design. The transition of this to the next shot is a fade to the "Save the Children" logo, marking the end of the advert.