For the end of "Exile", Joey Bratazani and Brian Harding worked on the computer effects shots of the Kryptonian tattoo, which was burned into Clark's chest at the end of season two, disappearing at the end of Clark's fight with Jonathan. John Wash describes the effect as being similar to a time-lapse, where you would watch a flower grow, but in the reverse. Bratazani and Harding had to track the effect to Welling's chest, in order for it to look like his skin was really being burned from underneath; otherwise, the shot would have appeared to be just a 2-dimensional light being broadcast on his chest. Just like the Krpytonian tattoo was something created digitally in season two, so was the digital body duplication of Ian Randall, which the special effects team had the chance to work on for a second time in season three's "Asylum". For "Asylum", special effects coordinator Mat Beck and his team used 3-dimensional strands for Ian's separation, which gave the team more control, as well as make the strands appear "gooier and grosser". The original effect in season two consisted of Entity FX using a primary shot of a CGI face pushing its way through a CGI back in three dimensions. This time, the team used a two dimensional shot appearing on a wall—known as "shadow play"—as though the audience is seeing Ian's shadow as he splits himself; lastly, the team applied another two dimensional effect to the final moment of separation, when strands of CGI flesh snap back to each body.