We tested different angles and colours of sunlight and finally chose dusk as the final rendering light, which gave the scene a more realistic look and allowed for the inclusion of a sunset animation.
We added a depth channel to the render so that we could edit the depth of field of the scene in Nuke, Shuang was responsible for this part.
For the last shot we tried a number of different sizes and colours of sunlight to make the sunlight as unobtrusive and harsh as possible, and although the final result was not the most satisfactory, it was much improved compared to the previous one.