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the eyewitness museum created by combining traditional filmmaking techniques with state-of-the-art computer graphics stripping away the mysteries of nature and science to reveal the essence of each subject bringing the world into sharp focus the making of eyewitness the distinct visual style of the eyewitness books is the basis for the program's they provide the filmmakers with a starting point and a challenge the challenge of transferring the clarity and super realism into moving images filming those images requires many hours of preparation each scene must be visualized and carefully mapped out by the storyboard artist many scenes require complex special effects in eyewitness plant the director wanted to create a 3d figure made entirely of vegetation how could this be achieved after the storyboard artist developed the idea the graphics team got to work they began with a basic outline of a computer-generated body this wireframe can then be added to and rendered in any texture and color desired until the final product blossoms on screen over three series eyewitness has encountered a dazzling array of graphic imagery none has remained as constant as the eyewitness museum itself the museum's design has continuously evolved new galleries and features have been added to the basic structure and gallery displays change constantly computer graphics give the programme makers freedom to alter and add to the museum in any way creating a virtual reality storehouse where the real and the impossible share one roof it is a museum that allows us to see the world as never before state-of-the-art technology has been used to create many of the series visual effects which would otherwise have been impractical to construct the computer lets designers build the architecture of their dreams and move a camera through it in impossible ways in eyewitness human-machine the tables were turned when a real person was used to create the look of a computer wireframe a professional mime artist was brought into the studio to play the part but getting into the role required a tight squeeze carefully designed grid lines on his tailor-made rubber suit enhanced the effect of an electronic skeleton all that remained was the face which had to be carefully painted on by the makeup artist once the director had given his final instructions and the crew were in position it was time for a take playing the human-machine meant the mime had to interact with the museum that only existed in the director's mind it would all be added later normally in the production process music is also added after filming but in human-machine the script called for a performance by a real violinist and harpsichordist to illustrate how sound is sensed by our body the eyewitness studio isn't big enough to hold a real plane so how can the effects of flight be simulated with scale models replicas of bike lanes were brought into the studio and suspended well to be perfectly honest as a viewer they were filmed against a chroma key blue background this specific color can later be replaced electronically with a different image Mikan with the help of some camera moves and a wind machine the plane miraculously takes flight back in the graphic studio the designer removes the blue areas and fills them with sky fitting an entire solar system into the museum for iWitness planets proved a very different challenge for the model makers creating a single miniature planet took days of sculpting molding and painting countless craters had to be painstakingly added although many of the images of the planets would be designed in the computer the real models were the most efficient way of creating the intricate surface detail my ID able to get through some smoke clap you know so the smoke whites out so you put like it on the addition of lighting and a careful camera move completed the effect to illustrate dramatic conditions on the freezing nighttime surface of mercury an apple was submerged into liquid nitrogen is decent Sun yes for to a slow-motion camera captured the results some of the most dramatic shots in the series pass in a fleeting moment but achieving them can take days or even weeks of meticulous preparation it's taken this model maker an entire week to construct a Greek temple for eyewitness natural disaster sadly he will only see his masterpiece on screen for a few seconds before it is deliberately destroyed not all models need to be as detailed or delicately handled the art of a model maker is knowing how far to go in creating the right effect to simulate the look of the seabed you didn't submerge an entire set underwater a simple trick with a small tank in front of the camera can give this model an eerie ocean floor feel add a few bubbles and a helping hand and you can even shift the Earth's plates in the opening to natural disaster an exploding picture was potentially the most dangerous shot of the series a pane of glass was attached to a frame and then blasted by compressed air in the editing process this shot is combined with another to produce the final shattering effect having explosive situations in the studio is not to be recommended but to create the solar system a Big Bang was unavoidable a ballistics expert provided strict guidance and supervision a slow-motion camera was protected by a sheet of high-strength glass above this the suspended explosive was detonated once again the graphics department was called in to make the final intergalactic editions painting in the first moments of the solar system frame by frame most of us have dreamt of escaping work to a fantasy island the eyewitness team the fantasy became the job when they were asked to create an island paradise in the studio over a hundred sandbags and several tons of sand were used special precautions were taken to ensure that water and electricity would be kept apart in the studio no island would be complete without its own palm tree a plastic trunk was topped off with imported real leaves it took most of the day to fill the 15 meter wide pool with water by the time Long John Silver arrived on set the tide was in the camera was mounted onto a crane called a jib positions were taken and the director finally called action to complete the scene a seemingly simple trick effect had to be engineered the coconut had to fall at a specific point to be caught on camera it was attached to a small electronic device which at the push of a button released the coconut from island to ocean journeying beneath the waves the next watery challenge for the team was capturing an encounter with a deep sea monster the crew headed to a Sea Life Center for an easy catch a tiny submersible camera was lowered into a tank along with a model diver the overly curious octopus soon got to grips with his new co-star the real star of the ocean program was to be a bathysphere our tour guide to the undersea world combining designs from historical fact and fiction the model makers worked to create a practical craft that would look good on camera and perform underwater for an important shot the director wanted to see the bathysphere emerge from the ocean a large tank was filled with water and the model was held down in place after a capsized couple of takes the final shot filmed once again in slow motion caught the moment of surfacing perfectly from water to ice when the program called in the help of professional ice sculptors the sculptors worked at amazing speed wielding chainsaws with remarkable precision the ice began to take shape and a temple from the city of Atlantis magically emerged after only 30 minutes the temple was complete and ready for the studios under hot lights allowing only one chance to capture the melting process which would make up the final effect the crew worked fast to ensure the masterpiece would remain in one piece long enough to their surprise the ice took days to completely disappear when you can't take a crew to a mountain why not make the mountain come to the studio for the program of the same name a huge fiberglass mountain was built and prepared outside the main studio after a week of work came the day to move mountains before the director was happy for the ascent to begin finishing touches were added scaling its modest slopes didn't take long the Mountaineer had more problems coping with the heat of the studio lights in the graphic suite the final effect hadn't quite the grandeur that the director had hoped for time for the mountain rescue team to move in the designer duplicated the same section of mountain varying it in size to give perspective to the image the climber now had a more impressive slope to scale a faster way of building a mountain is to generate it completely on computer once you have the framework it can be manipulated and viewed from any angle in a few clicks the computer can alter the color surface or shape from mouse to mountains in seconds one of the great questions in eyewitness life is what comes first the chicken or the egg the answer is difficult when you have a camera-shy chicken the shot seemed simple enough an egg would crack in half to reveal the chicken which would then walk out right wrong strings were attached to the oversized egg in order to pull the shell apart the chicken was carefully introduced the director called action but no chicken she obviously preferred the safety of the shell to the bright studio lights perhaps if there were two chickens one of them might come out no if at first you don't succeed at last but how do you get an elephant out of a tree morphing where one object changes into another it's a technique that has been used many times in eyewitness but usually not with such different objects in this instance the outline of the first object is laid over the second selected points are then dragged to match the new outline it's up to the computer to calculate and render all the stages in between putting two very different things together is made easier in eyewitness survival here a cockerel and a fox have to appear in the same set but how do you avoid having one of your stars getting eaten first the camera is locked off into position then the cockerel is introduced and with a little encouragement he hops off the post it was up to the graphics team to Matt out the animal handler by superimposing a clean section of the footage just next came the Fox once the Fox sequence had been filmed it was layered over the cockerel shot predator and prey on screen together and everyone survives music live-ins up any scene in a program but it's not easy to get right the first time by playing and storing all the elements of the music electronically the composer can adjust it according to the action in each shot he must work from the finished picture using it as a guide to time each section of music when the director demands an entire troupe of Roman soldiers computers provide a cost-effective solution it was decided that only two actors were needed the remainder would be added by duplicating the image and staggering their movements lightly the result an entire Roman troupe for only a few denarii in I witnessed bear there was no faking the size of a real grizzly a professional was called in a gentle giant who became the museum's most notorious animal visitor the star even had his own transport and entourage it was a big day for Hercules a veteran film and television but he seemed remarkably cool about his appearance weighing over a third of a ton he's not a performer the director wanted to annoy once the room in the museum is selected Hercules can be dropped in a star is born a star that needs a lot of play no playing with hercules untrained friend a black bear a retaining cage had to be constructed to protect the crew with only the handler allowed in in the graphic suite the bears are united to create a shot which would have been far too dangerous to attempt for real filming a real environment gave the crew an ideal opportunity to go on location unfortunately the weather proved less than ideal the crew faced wind and rain to recreate the story of how President Teddy Roosevelt inadvertently led to the creation of the teddy bear with a firearms expert on hand and a pack of hounds at the heel the team had to make quick progress to complete all the shots before the next downpour filming in the studio is usually less pressured unless your subject is a gruesome hyena for I witness monster for his scene the hyena had to sniff out its prey in a crack in the wall he didn't take much coaxing with the help of a special hyenas snack a single shot in eyewitness sight combined the challenges of working with animals models and graphics all to create a fleeting optical illusion the set alone took three days to construct every detail had to be measured and lined up precisely before the hand-painted backdrop was brought in I think we might have to move getting an owl to line up precisely for the shot required more time time for the animal to familiarize itself with this strange new environment a carefully calculated camera move across the set and a well-behaved animal actor produced the remarkable final shot from animal actors to famous people eyewitness has filled its museum with every imaginable subject often combining the latest technology with time-honored techniques or time-honored performers like Charlie Chaplin he joins a limitless who's-who of animals and artifact plants and planets shooting stars and movie stars I witness is more than a museum it's a world of infinite possibilities where you never know where you may end up you