The technique involves manipulating time by accelerating and decelerating speeds in various ways on specific bits of footage. The shots here are unedited and I’ve just included various clips that I liked. Obviously these were rendered in high definition and are meant to be viewed on a large HDTV screen and not in a miniscule browser window, but you get the idea.

Sadly there’s no way of actually slowing down time in real life.

We used front and back projection screens to create the effect, combining live actors with virtual sets. The 3d graphic theatre backdrops were designed and animated then back projected from a dvd onto an enormous screen behind the performers (Lauren Lamarr and Mark Donnelly).

We also placed a second mesh screen between the camera and the performers and used front projection to cast another layer of motion graphics onto. The set looked amazing. What you see here are the basic rushes, there’s nothing added, and the overall effect is a bit like moving 3d stills.

See also The History Of The Devil.

Producer/director Dani Carlaw was making a documentary about how Scottish people seem to excel on talent shows such as the X Factor, what with Susan Boyle having recently cracked the American market. The programme was to be called ‘The Scots Factor’ and the opening titles were to parody the glitzy, light-entertainment look of the X Factor, using the cross of the saltire in place of the X.

So the original titles looked like this:

However, I had no sooner finished this sequence just before Christmas when I was told that it was unlikely to be used - ITV, which licences STV for central and northern Scotland, was threatening STV with legal action over the show.

I didn’t see the problem myself – it wasn’t a talent show, it was a documentary and it’s in the nature of parody to mimic the look of the thing being parodied. But STV and ITV have ongoing legal wrangles and this just seemed to make everyone nervous. Poor Dani had a very hard time keeping the legal department happy.

But what do I care. I liked the original sequence too so I include it here for your delectation and delight. Unless Simon Cowell gets litigious.

Like the previous series, this was entirely made up of archive footage and graphics, so for the title sequence I created this montage of treated shots and animated text, and built it around the theme music.

As my postcard for its premiere shows, it went out on PBS on August 1st 2001.

I used the pop-up technique for this title sequence, taking all the promo stills I was given and cutting them up to form an animated collage.

For anyone interested in a little web history, you can find the original website I created for TimeLife Video in 1999 here at Battlefield Vietnam.

The series was a major technical challenge for me as each of the twelve one-hour long episodes had a large number of graphics all of which required rendering – a big deal in those days. So even the logistics involved were tricky. On top of that we had to make sense of most of the major battles fought during the ‘10,000 day war’ and illustrate troop movements and guerilla warfare. Just to give an idea of the level of detail required by the producer Dave Flitton, some of the fighting was done on individual neighbouring hills, each of which had to be accurate in relative scale and be named according to original sources.

The Khe Sanh episodes involved such extremes of scale in the maps, going from the whole of South East Asia to being able to see details of the base itself within the same graphic, that we made maps within maps within maps. It probably doesn’t sound much now but all the graphics were done on a couple of very early Pentiums. Wow it’s got a 2gb hard disk, I thought.