PRODUC T I ON . VIGIL
claustrophobic, high-pressure HMS Vigil. They also had to navigate several shoot delays and remote reviews and approvals, as production and post-production ran throughout the pandemic. “From conception, Vigil was a very bold and ambitious project. In the first twenty minutes, we see our hero Amy in a helicopter being winched down onto the submarine – our setting for the series,” explains Gray. “For the whole show, we tried to challenge ourselves to do as much in camera as possible – then add this to post. Bringing on three post-production companies (Blazing Griffin, Goodbye Kansas and Savalas) as partners early in the process was crucial. For Amy’s journey to the sub, we shot ship-to-ship plates of the helicopter, then added the extra elements of her on the winch and the conning tower, which were all seamlessly blended together.” The real Trident submarines are shrouded in secrecy, so the design had to be constructed from a mix of former submariners’ memories and scouring the internet for any similar vessels.
A SENSE OF SCALE The crew played with space to moderate the intensity. From the confines of the submarine (top left), to the wide expanse of the Atlantic Ocean (above), anamorphic and spherical lenses created the right atmosphere
“We wanted the camera to be constantly moving and flowing through the environment – never letting it get too static”
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