![]() ![]() Finding the right font was one challenge. Visual effects company Framestore worked on degrading the video to make it less sharp, and overlays were used to add timestamps and other details to footage. If, for example – the characters are observing something happening at night, the screens around it could be populated with other night-time shots.īut before that, the footage – which was filmed in 4K or 1080p resolution – had to be altered to make it look more like the CCTV surveillance images we’re used to seeing from news reports. His footage was tagged and fed into a software system that could populate the screens on set with appropriate imagery to match what was required for the show. “We tried to play everything live, so we film it with the cameras,” says Doman. Doman started by collected hundreds of hours of footage shot from rooftops around London at different times of day and night to create a library of CCTV-style images that could be used to populate the background screens in real-time. The action, at least in the first episode, happens in and around Sutton in south London. ![]() He was charged with capturing the footage that would be shown on the huge number of screens featured in the show – both the ones integral to the plot, and the ones that are simply part of the background. ![]() After that, Doman worked on the BBC series Spooks for many years, and joined the crew of The Capture as CCTV director.
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