‘an impressive piece of televisual wizardry.'
‘…this excellent trail [has]... been a huge hit on YouTube with millions of viewings in just a few days.'
‘Gorgeous Doctor Who 50th anniversary trailer leaves Whovians chomping at the bit for more'
‘If we're freaking out this much over a teaser, then the Whovians must be going CRAAAAZZZYYYY!’
By the time I came on board, the creative team at Redbee Media had already written the spine-tingling voice-over and come up with the great idea of freezing time in a landscape composed of Dr Who iconography, where we could see previous incarnations of the Doctor frozen. I was honoured to be chosen to take this on as a director.
My job initially was to work up specific scenes and develop the techniques that would bring the team’s ideas to life. The finished promo draws on several film techniques that are employed both ‘in camera’ and during post-production. All beginning with detailed photographic mock-ups, which I created in photoshop. When designing the shots, I drew on my childhood fascination with the show, trying to create something visually strong and dramatic but with as many references to the past as I could cram in. The details were added throughout the entire process with an eye to perfection that checked every detail right down to the weave of Tom Baker’s trousers. The sequence was devised so that the few words spoken by Matt in vision would be powerful and generate excitement from the audience.
of a single of a scene >
Creating William Hartnell’s Face in High Definition
The team wanted to see William Hartnell in HD clarity – naturally, no images of him of this quality existed, so as part of my directing proposal I set about demonstrating a possible technique for creating one. After playing around in photoshop I managed to produce a rough digital colour image of Hartnell that showed promise. Having seen this prototype Rebee Media then commissioned me to produced the actual Artwork of his face to be used in the trailer. This had to be created before began filming so we could design the William Hartnell shots around it.
I kind of had to develop the technique as I went along, feeling my way. The basic idea was to photograph details of the face of our actor who stood in for William Hartnell and then, in photoshop, match up his features, to a production still of the real Hartnell. The process ended up being much like doing a painting of his face - every little detail had to be correct. The final result was very satisfying and strangely uncanny in appearance. We now had a high resolution, static 2D image which could be used by Framestore in the post-production process.
Most 'Innovative Use Of Digital’
Best ‘Originated Drama Promo’
Best ‘Season Or Stunt Promo Campaign’