Intransit explores the disturbed mind of a seventeen-year-old boy, Ben, who is wrestling with guilt after the death of his father in a car accident, in which Ben was the driver. The viewer is plunged into the mind of the protagonist, as opposed to leaving the viewer outside the character to view the happenings from a third person perspective. Digital visual effects are used to blur the boundaries between the real and the psychological. Here are a few selected examples.

The city sequence was created using Maya. Photographs of skyscrapers in Sydney were textured onto the geometry and the surfaces were offset using a MEL script that allowed the ray-traced reflections to distort as they normally do on buildings. Streaking car lights, as seen in time-lapse photography, were also added, creating an effect that is impossible with normal cinematography, as the exposure lengths are far longer than the high frame rate could allow.

After Effects was used to composite the multi-layered memory sequence after the car accident scene, however traditional techniques were also used to achieve the abstract visual style. The footage was shot on eversal 16mm film and cross-processed at the lab. In he telecine stage, the colour cast was removed that as introduced by cross processing the film. This achieved strongly saturated dark colours with offset hues that resulted in a look of slightly altered reality. The footage was then composited in After Effects using time-warping, different transfer modes and travelling soft mattes.

Inferno was used to composite the visual effects that represented an apparent reality. The last shot in the film, where a train collides into the viewer, was created by shooting along an underground train track that was closed due to construction. A light was carried several hundred meters down the track towards the camera. In post-production the light was stabilised and separated from the background using a luminance key. A photo of a train was composited in between the background and the light and its size, position and grade was animated to finish off the effect.

The train then passes straight through the viewer. This second half of the shot was created by shooting a single carriage of an unused train on a steady-cam. Several takes were made with the carriage looking slightly different. The shots were stabilised and speed ramped to attain a high velocity and remove the acceleration and deceleration at each end of the carriage. Finally motion blur was added and the reflections of the camera operator removed from the glass at the end of the carriages.