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Brighton's Electric Sky is boning up on ancient history with London design and effects house Skaramoosh for Tales of the Living Dead.
May 17, 2001

Two and a half thousand years ago, a woman was buried alive, with her arms and legs tightly bound and a metal collar cinched around her neck. Was she murdered? Was she put to death by law? Maybe she was a witch. ‘Witch Resurrection’ is the first of 13 26-minute spine-chilling episodes comprising Tales of the Living Dead, a series that tries to solve archeological murder mysteries using modern forensic science.

A coproduction between Brighton-based Electric Sky and London-based special effects animation house Skaramoosh, Tales will include reconstructions, 2D and 3D graphics, and other special effects. The first six episodes, including ‘Aztec Death’ – which tells the tale of the mysterious death of a deformed Aztec child, evidenced by a misshapen skull found near an ancient temple outside of Mexico City – will deliver this July. The final seven episodes are currently in development, and are scheduled to deliver in January 2002. Says David Pounds, chief executive at Electric Sky, ‘the final seven episodes will include stories from Greenland, Syria, South Africa, France and Italy.’

The series’ £1 million (US$1.4 million) budget was covered by National Geographic Channels Wordwide (which holds the distribution rights for territories outside of North America), and the Travel Channel in the U.S. Says Pounds, ‘Forensic archeology is quite a popular area at the moment, and I think the half-hour format is actually a very powerful one in which to tell the story – they’re very fast-paced segments.’

About The Author
Barry Walsh is editor and content director for realscreen, and has served as editor of the publication since 2009. With a career in entertainment media that spans two decades, prior to realscreen, he held the associate editor post for now defunct sister publication Boards, which focused on the advertising and commercial production industries. Before Boards, he served as editor of Canadian Music Network, a weekly music industry trade, and as music editor for HMV.com. As content director, he also oversees the development of content for the brand's market-leading events, the Realscreen Summit and Realscreen West, as well as new content initiatives.

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