Universal Pixels (UP), a leading supplier of video equipment and crew to the film, TV and advertising industries, has been chosen to deliver ICVFX processes for gritty new BBC One drama, Better.
Filming on location at Prime Studios in Leeds, UP was tasked with shooting multiple internal car scenes for the crime series which is both written and created by Sam Vincent and Jonathan Brackley.
Detailing the murky and emotionally draining decisions of corrupt cop DI Lou Slack – played by Leila Farzad – UP’s challenge was to support filming of the tense internal vehicle scenes over three days, needing the approval of multiple directors and DoPs.
HETV – high-end TV – productions are more often opting for car processes rather than traditional low loader workflows. UP ICVFX Account Manager, Dan Edmonds, explains how this enhanced the production: “This route gave us the ability to do multiple scenes with five different vehicles [three cars, a Range Rover and a builders truck] across the show’s five episodes. The flexibility to shoot multiple ‘time of day’ scenes across any episode was a requirement of the production, and after initial testing, we had just one week to build and deliver a three-day shoot and strike.”
Edmonds chose Roe Black Diamond LED screens to create an enclosed box for the vehicle process, which was driven by disguise GX2c media servers.
He continues: “We were given nine separate plates that were required to be placed back around the LED screen for playback. disguise video mapping was key to re-stitching a 360 playback of the driving plates. Used in conjunction with custom made LUTs [colour-grade-presets for footage] this really helped us to deliver precise scenes for the Better production.
“The disguise system also helped the UP teams to simplify workflows, and afforded the BBC production team the option to preview selects and ensure they fitted each scene as intended. The flexibility with in-built mapping processes is perfect for what was required on this project.”
Being able to control VP techniques was important for the overall production environment, as Edmonds furthers: “To have continuity was critical to the show’s Director and to the filming crew. These details really make for a seamless experience. The BBC production crew had limited exposure to this relatively new kind of video process beforehand, so it was great to see how pleased they were with the speed of the shoot and, ultimately, the realistic results we could offer.”
