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Raysan Al-Kubaisi deals with Time Team's graphics, together with his colleague, Neil Emmanuel. He is responsible for three-dimensional imagery and works closely with the specialists who appear on the programme. He produces those 3D computer reconstructions of finds and structures, uses a monster computer, and is a regular fixture in the incident room. When not on programme shoots he's busy putting things together in post production.
What does your work on Time Team involve?
'The easiest way to describe the role of 3D graphics is that it helps to bring the archaeology to life with realistic reconstructions,' says Raysan. '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.'
What computer software do you use for your reconstructions?
'My background is in designing architecture and because of that I like to use architecture software for my work. Basically I 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.'
Some of the most popular developments in Time Team graphics include the integration of drawings by Victor Ambrus 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 (Chicksands in the 2002 series), came about because we wanted to integrate all of the imagery that we were getting. 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.'
Watch a video clip of Raysan talking about his work at the 2000 Time Team Live in Canterbury:
www.channel4.co.uk/history/timeteam/
archive/timeteamlive/video/raysan.mov.