Luke Pietnik - Realising Space-Time

One of our major concerns throughout pre-production has been how to realise Gareth's materialisations. Max, heavily skeptical about in-shot transitions and effects, thought his appearances should be off-screen. However, I think we all wanted that shot, that extra-ordinary moment when Gareth passes from one world to another. As well as adding spectacle, it also emphasises Jenny's growing trust in Gareth, and the power possessed by the people of his time.

So, we looked to sci-fi for inspiration. I often sighted Quantum Leap as a major influence on me when it comes to materialisation effects. The flare is, as far as I'm aware, rotoscoped onto each frame, and animated.






The effects, as well as adding verisimilitude, help to 'hide the join' between the locked off shots of the environment, and Sam Beckett within that environment.

Another obvious effect to discuss is that of the Star Trek Transporter Beam.


The overlayed effect adds another level to the shot, more interesting than the ordinary and mundane jump cut or fade transition.

It's easy to forget that while we imagine Gareth traverses space, he also travels through time, and one of the most famous time travel special effects is also one of the most simple. The TARDIS.


Initially realised with just a simple cross fade transition, the sound effect and simple flashing light motif make The TARDIS' materialisation an iconic moment, whenever it occurs. With the advent of computer technology, the TARDIS effect has evolved somewhat since the show's return to our screens in 2005. A CGI skeleton underpins the fading box, and throbs beneath it.

Having done a few tests, I'm confident we can achieve something stylish, consistent and effective. Any scenery or minor lighting changes in the time between our locked off shots can be masked and shrouded by glow and blur effects.

Max, worry no longer.