From Scalextric to archaeology: Time Team's graphics

With so few features being uncovered in the ground, Time Team relied more heavily than usual on maps and records for the Castle Howard programme. This put the graphics team of Neil Emmanuel and Raysan Al-Kubaisi in the spotlight.

2d graphics
'My role is basically twofold,' says two-dimensional graphics artist Neil Emmanuel. 'When we're on shoots, it's my job to produce anything the Team require in two dimensions. That can be dealing with maps, surveys or any data, for that matter, that needs to be processed and printed out. Then, after the shoots, my work involves post-production of images for the final programme. That can be a bit more involved and requires fine-tuning of images and work, putting more detail into the graphics for the final show.'

'We all use PC computers in the graphics team rather than Macs as we've found this easier when integrating our software,' Neil continues. 'I use a mixture of illustrating and painting programmes that all overlap and basically help me to make sure all of the images I use look just right at the end of the day.'

3d imagery
The other half of the graphics team consists of Raysan Al-Kubaisi, who deals with three-dimensional imagery.

'The easiest way to describe the role of 3d graphics is that it helps to bring the archaeology to life with realistic reconstructions,' he says. 'It can often be hard to imagine what something would have looked like from a few foundations in the ground, or a couple of fragments of pottery, but by using 3d graphics we can make the whole thing come alive.

'I work closely with the specialists on the programme to try to make everything as realistic as possible. Obviously, at times some of what we do is conjecture, but we certainly try to make it as accurate as possible.'

'My background is in designing architecture and because of that I like to use architecture software for my work,' says Raysan. 'I basically design a "wire frame" on the screen using AutoCad and then I can render that framework with a package called 3d Studio Max. I can change the angles of the graphic, project light, fly around the image and add textures to make the whole thing appear more real. Normally, about 90% of my work is in post-production after the shoot, but the real fun starts on the live programmes when you're really under pressure and serious time restraints.'

Blue-screen technology
Some of the most popular developments in Time Team graphics include the integrating of Victor's drawings and 'Star Wars' blue-screen technology (where backgrounds can be added behind the subject) into the process. How did all that come about?

'The use of Victor's drawings and blue screens, like when we put Jenni Butterworth into a virtual medieval priory, came about because we wanted to integrate all of the imagery that we were getting,' says Raysan. 'This is a great way to bring life into the graphics. You have to plan camera angles carefully to get it right, but we have a lot of fun along the way.'

Hornby and Scalextric
Asked if they enjoyed creating and playing with scaled-down environments as children, it transpired that Neil was a Hornby railway man whereas Raysan preferred Scalextric.

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