The trailer sequence was shot for the new Sky Television drama series, staring Tim Roth. The sequence is a gentle camera move that follows a small white feather floating in a light breeze. Its journey starts at rooftop level and slowly drifts past a turning weather vane followed by a window and crow in a tree. As the crow flies away, the feather continues through the tree and down to ground level where its floats under a broken log that has mice scampering over it. After we pass under the log, we continue through some cobwebs before revealing a ‘ram-shackled’ hut where our hero is seemingly hiding. We end up peering through a small broken slat in the shed as ‘Skellig’s’ eye winks back at us before it disappears into the gloom from within.

In order to visualise this sequence as a complete camera move, it was first produced as an accurate and detailed Previs. Due to the complexity of the shot, it was determined that the sequence be subdivided into three separate motion control camera moves that would be seamlessly joined together on various portions of the set; These would be the roof, tree and the garden move, each with its own various elements and effects passes. This meant that each department could concentrate on a smaller part of the shot so that lights could be established, sets could be dressed, animals need only perform for their part of the shot and access was gained for the camera arm.

As the move itself required the camera path to be some distance into the sets, our Super Cyclops with the ‘Eiger’ carbon fibre arm was used. This gave enough reach to ensure that the camera could follow its pre-determined path past the various set pieces. Our Motion Control ‘rig chase’ software was also utilised to give a precise position for every piece of set as well as the camera and rail within the studio.

The director wanted to create a ‘larger than life’ feel to the environment and in certain parts of the sequence the camera passes close to the ground and under a log. To achieve this, a wide-angle snorkel lens was used to give minimum ground clearance whilst still retaining a good depth of field and close focus properties.

As the feather, itself, was to be generated in 3D, a separate reference pass was shot on each set for lighting and positional accuracy.

The trailer was shot over three days on Stage 5 at Black Island Studios London.