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“immersive and narrative, rather than explanatory and dry”, because it needed to be suitable for a broad BBC1 audience. While the graphics were based on real pictures and the latest scientific research, the overall aim was to create images with a cinematic feel, with simulated camera lenses to create the illusion of a real film shot with a camera with a shallow depth of field, and dust particles added to enhance the illusion. Jelly fish picked up the Visual Effects Society 2012 Award for Outstanding VFX in a Broadcast Miniseries, Movie or Special for its work on the episode.


post-production services, from conforming to technical and creative 3D finishing and colour grading, which was carried out by colourist and Mistika 3D finishing system operator Andy Lee. Critics were impressed by the finished product, describing the 3D as “spectacular” and “some of the most fetching use of 3D tech nology since Avatar”. Lee’s credits also include Madam Butterfly 3D and Dwarf X, which TXs in the autumn.


Gary Barlow: On Her Majesty’s Service


8 Jet Omoshebi Great Expectations, Episodes


Colourist, Deluxe CREDITS INCLUDE


7 Andy Lee


Colourist, Onsight CREDITS INCLUDE


Kingdom Of Plants 3D With David Attenborough, The Bachelor King 3D


Over the course of a year, director of photography Tim Cragg and director Martin Williams captured the secret world of plants at the Royal Botanical Gardens in Kew. As well as supplying cameras and equipment, Onsight provided


Great Expectations was the centre piece of BBC1’s Christmas schedule. Deluxe colourist Jet Omoshebi’s main brief was to make the story, which was shot in the summer months, look as wintry as possible while also creating an ethereal glow for Gillian Anderson’s Miss Havisham character. “In every shot during episode one, Miss Havisham has her own light effect, which involved tracking all of her move-


ments,” says the Deluxe colourist. “Some of the looks are built from three or more plug-ins layered on top of each other. Being able to keep track of each layer and modify it separately was essen- tial.” Meanwhile, her soft palette for Episodes convincingly recre- ated LA in London.


Hinchcliffe moved from the now defunct Pepper Post to Prime Focus in June last year, where he continued to work on Hustle.


10 Andy Hodges


9 Scott Hinchcliffe Sherlock, Hustle, Spooks, Whitechapel


Online editor, Prime Focus CREDITS INCLUDE


Great Expectations www.broadcastnow.co.uk


For the first series of Sherlock, online editor Scott Hinchcliffe blended multiple images to illus- trate Sherlock’s thoughts. It was a striking aspect of the adaptation of the Conan Doyle classic that was revisited and enhanced for the second series, for which Hinchcliffe helped to create the majority of VFX elements and graphics, including Holmes’ mind-mapping technique. Although there were only three episodes in the series, Hinchcliffe said each was treated like a feature film, remarking that “it’s probably been the most compli- cated show I’ve ever worked on.”


Dubbing mixer, Envy CREDITS INCLUDE Gary


Barlow: On Her Majesty’s Service, Billy Connolly’s Route 66


One of dubbing mixer Andy Hodges’ standout projects of the past year was his work on the BBC1 documentary about Gary Barlow’s song to celebrate the Queen’s Diamond Jubilee. With Barlow travelling around the Commonwealth collecting sounds to include in the celebra- tory track, the quality of the audio was an integral part of the 60-minute programme. Hodges described that programme as “a joy to mix”, but said there were some tricky sections, such as compensating for the production not being able to use a boom or tie mic to capture the Queen’s speech. Hodges’ other credits include The Undateables, Billy Connolly’s Route 66 and last year’s The Street That Cut Everything.


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