Behind the scenes

Animating the motion control shots in Quarantine, balancing on a step stool to reach the puppets

Sometimes there’s only one way to reach a puppet on set
Model maker Hetty Bax turned her drill into a tiny lathe to make a badger-sized recorder
The village hall set in Quarantine, featuring the amazingly terrible rig we built to hold up the roof panels when the wall wasn’t there, fixed in place by a jar of pennies
Model maker Hetty Bax dressing in the mud floor on the tunnel set using a cocktail of paint and cork granules
A glimpse into the badgers’ rehearsal process
Model maker assistant Isaac Bolton gets to grips with the glamour of filmmaking, sticking bits of polystyrene together to make an embankment
Both of Frank’s arms broke in the last week of filming, so he had to go into emergency surgery for a very botched quick-fix to get through the rest of the shoot
Scenic painter Beth Walker at work on an 8-foot dawn sky for Quarantine
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Animating the fight sequence on the boat in Squirrel Island
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Just pinning some dead squirrels to polystyrene trees here, standard
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Super hi-tech solutions to moving shots is how we roll at Mock Duck Studios
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A squirrel drowning in a layer of plastic and a LOT of cheap hair gel

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One of the many Squirrel Island vehicles in progress, this one was based on a 70s golf buggy design

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The clay sculpt for the squirrels’ gas mask
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Bunker lift buttons, seen for approximately one second in Squirrel Island, but each button has a symbol which corresponds to a different department of squirrels
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Hand-dyeing wool for the knitted suit in Squirrel Island
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Eyeballssssssss
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Squirrel armature in progress
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Red squirrel skulls
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Model maker and scenic painter Tiffany Monk painting one of the Squirrel Island sky backdrops
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Sophisticated rig for a leaping squirrel, made from an old kitchen cabinet and held up by gaffer tape
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Cutting out teeny holes in squirrel-sized continuous form paper

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