These separatists, who had broken away from the Church of England, would have seen a lot of traffic up and down the river as ships left for foreign climes. The area around Rotherhithe in the 1600s attracted many outspoken Dissenters, who refused to conform to the official line of the Anglican Church. Today, if you walk down the steps to the left of the pub entrance, you emerge onto the foreshore where a jetty would have taken passengers and crewmen on board. Before that, it was the Spread Eagle and Crown, but in 1620 it was The Shippe Inn.Īccording to the popular myth, Captain Jones tied up the Mayflower alongside the pub to avoid paying mooring taxes. The pub has been called The Mayflower since 1957. One clue to its relevance in the Mayflower story can be seen on its rooftop: a weather vane in the shape of the famous ship. Redevelopment is in the air for much of the area, which means now is the time to visit while the landmarks of its ancient history are still available to view.įor Mayflower chasers, the first stopping off point must be the pub at 117 Rotherhithe Street.
Rotherhithe lies a little less than two miles to the east of Tower Bridge, on a peninsula that juts out into the Thames. (Londoners pronounce that “Suthuk”.) It was a place much favored by sea merchants because of its location on the River Thames, deep enough at this point for large ships to drop anchor and with easy access to the North Sea, into which the Thames flowed, with no intervening bridges to impede the journey. In 1611, Jones moved to Rotherhithe, a parish of Surrey, but now part of the London Borough of Southwark. His small business consortium then ran the Mayflower as a trading vessel. He was Christopher Jones, who lived and was married in Harwich. Along with three business partners, the ship was purchased by the man who became its captain. The Mayflower had been built more than 300 miles from Plymouth, in the North Essex town of Harwich, where it was launched and registered. So, despite its legendary connections with the voyage, the Mayflower might never have had sight of Plymouth had the Speedwell been more seaworthy. The Speedwell’s cargo and many of its passengers were then transferred to the already crowded Mayflower, which set sail for the New World for the third time. This time they returned to Plymouth, which, being west of both Southampton and Dartmouth, made a more convenient port of call. About 300 miles out to sea, the Speedwell once more began to leak. Unfortunately, once at sea, the Speedwell soon began to leak, forcing the two ships to return to Dartmouth for repairs before setting off again. Here, more passengers embarked, and the Mayflower was joined by a sister ship called the Speedwell, which had brought emigrants for the trip from the Netherlands. The dialogue editor was Alex Sawyer.The ship was contracted and boarded in Rotherhithe, however, from where the Mayflower sailed to Southampton, 150 miles east of Plymouth. The sound effects editors were Darren Banks and Alex Gibson.
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With a full orchestral score by John Lunn, the series was final mixed by Nigel Heath, Alex Fielding and Brad Rees, using AMS Neve.
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Edicue software handled the script for the actors. Oliver Brierley, largely using DPA, Sennheiser and Sanken microphones, recorded the ADR in-house.
Clarity of dialogue was key, with care taken to ensure both the 5.1 and the stereo versions of the show ran well in a variety of often less than ideal domestic listening conditions. Hackenbacker did the audio post work, creating an authentic, atmospheric and highly immersive track. Other notable contributions included creating the dramatic and wild landscape of the New World, and working together with SFX team to build a raging inferno inside the Jamestown candle store in episode 7. The VFX work was also key to establishing the geography of Jamestown itself. The work featured heavily in sequences at the Jamestown docks where a photoreal full CG ship was created and added. BlueBolt completed the main visual effects.īlueBolt VFX supervisor Richard Frazer and VFX producer Jan Guilfoyle led a team of artists to deliver 116 VFX shots in total. The post producers were Nick Baker and Harriet Dale. In order to retain and complement the true tone and colour of the 1619 setting, special attention was paid to costumes, hair and make-up and set design.Ĭlyde Kellett completed the online edit and visual effects using Avid DS Nitris.
Sapphire plug-ins were used to distinguish the mood and tone of the series. Using ProRes 444 Log C rushes, shot on Arri Alexa, colourist Aidan Farrell graded the series using Digital Vision’s Nucoda, giving the show dynamic, powerful colours and textures, as well as a cinematic look. Picture post-production, audio post and VFX on an eight-part drama about the first English settlers in America in 1617.
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