Such a high-tech programme as Bugs deals frequently with computers. In each episode, you are confronted every few minutes with another flickering computer screen, packed with vital information or a rapidly-diminishing countdown. The job of providing the producers with all these images falls to Rob Rollinson, who recently spoke to TV Zone from the set of Bugs.
Firstly, Rob describes the work he and his team do. "Basically, we do two things. We, firstly, solve the technical problems involved in trying to film computer screens - by setting up systems whereby we can generate pictures off-set and pump them into the screens on set. Then what we try and do is design graphics that will hopefully look like people are actually using computers. You've got to get the feeling you're walking through a room and what you see is capable of controlling a particle accelerator or a power station."
Rob elaborates on the design side of his work. "There's two side of it really. There's things where we tell stories and try and show people using computers, where what we try and do is design screens that look similar to normal computer screens. But we try and make the information a bit easier for the audience to understand. Or, at the other end of the scale, we've got things where we're actually trying to create 3D models of things to explain what the plot does." Rob points out his bank of computers nestling behind the major set in the warehouse. On one screen is a representation of a particle accelerator loop churning under a group of buildings, the futuristic city of Technopolis where this episode is set. On the other is a representation of a metallic, skull-like head, complete with vicious looking teeth, which is the personification of Technolpolis's computer system. Both images achieve what Rob was aiming for: they get across the message, and tell the viewer what they need to know about the plot.
Talking about the image of the skull, Rob explains that it took many hours to get it just right. "it's very difficult to work out exactly what you want something to look like until you get to the situation where you're on the set, you've got the actors and director, and all the pieces of the jigsaw have finally come together. At the point, you'll want to change what you've done. I do a lot of that last-minute changing and editing of graphics."
Playing around with the image, Rob hits a couple of keys that make the head turn and the jaws open and shut. He explains that this direct control of the image is his preferred way of working. "We try and design little animation sequences which allow us to time things so we can put them in sequence with the actors. That's why I like to do it live, out of a computer, rather than recording things onto videotape and then playing that in. In that case, the actors then have to try and act to the video tape, whereas it looks much better if I try and keep up with them, rather than they them trying to keep up with me."
How does Rob find it working on such a hectic, action-packed programme as Bugs? "It's very hard work, he sighs. "They're very long days and there is no time to do anything, because of the way we turn these things around. I have very little time to prepare the graphics, so very often I'll be on the set and ten minutes before they're actually going to shoot, I'm still putting final touches on things."