There are many questions that readers of Dan Brown's best-selling novel The Da Vinci Code are asking. The novel, which has been on the NY Times best-seller list for over 3 years now, has sold over 14 million copies worldwide. Ron Howard's film version of the novel debuted worldwide on May 19 and is projected to gross over $450 million worldwide. The Da Vinci Code is reaching a massive audience and makes many sensational claims that call into question fundamental orthodox beliefs about Jesus and the Church. To help separate the Catholic truth from fiction, the Catholic Communication Campaign of the United States Conference of Catholic Bishops contracted NewGroup Media of South Bend, Indiana to produce Jesus Decoded, a new hour-long documentary that presents clear and accurate information about the person of Jesus, his disciples, and the formation of the books included in the official canon of the Bible.

Why this program at all when so many other "Decoded" programs have already aired? "Those have always included an amalgam of voices," says Judy Zielinski, the show's writer/producer. "There'll be a priest and/or a Catholic theologian, a handful of Protestants, and then other alternative religions all commenting on ideas and positions in the interest of diversity. The bishops wanted a program that was clearly and unequivocally Catholic, expressing the orthodox Catholic positions on these many topics."

Jesus Decoded was produced over the course of one year. The early stages of pre-production involved scouting, writing and booking interviews of educational and religious scholars from various Catholic backgrounds throughout the US and abroad. The production schedule included the filming of actor dramatizations, location shooting of art and historic places and the scholars interviewed in their specific disciplines. In the summer of 2006 Zielinski and Director, Christopher Salvador, surveyed locations in Greece, Israel, Italy and Turkey. Principal photography began in the fall of 2006 with taping in Istanbul, Izmir and Ephesus in Turkey. Israel locations included Galilee, Nazareth, Tiberias, Tibeh, Magdalah, Qumran and Jerusalem. Locations in Italy included sites in Rome and Milan.

A high point in production was the taping of Leonardo da Vinci's Last Supper in Milan. "We had to come on a day that the museum was closed," says Judy, "so we had the painting all to ourselves for 3 hours—along with a cleaning crew." "What a day" said Salvador. "Not only were we taping the Last Supper but we were taping on our busiest day of production. We left Israel at three in the morning, flew through Athens, Greece and connected to Milan, Italy. Once in Milan, with the help of our driver Fabrizio, we transferred all of our equipment to Santa Maria delle Grazie, home of 'The Last Supper.' After taping we transferred back to Linate Airport for an evening flight to Rome, where we had to be on set at the Vatican at 8 a.m.. Once in Rome, after the short forty five minute flight from Milan, we realized that Alitalia Airlines had lost one of our most valuable suitcases full of electronic equipment and much needed batteries. We managed and glad to say it was all resolved two days later."

"Doing a Biblical-based documentary requires a mix of written narration, scholars' bites, and LOTS of cover footage," says Judy. "While we were not working from a dramatic script like Ben Hur, there were many events and actions we needed to portray. We knew we couldn't do an hour only with art depictions of Jesus and Mary Magdalene and the other disciples. We needed live actors. We needed sets. We had to show them walking, talking, eating. Setting that up authentically and shooting all of it was a huge part of the production."

Nazareth Village, a tourist/pilgrim 1st century village with costumed men, women and children provided the Israeli background where the NGM crew shot a recreation of the Last Supper, women cooking and baking bread, Jesus and the disciples at an everyday meal, Mary Magdalene buying food and supplies, Jesus teaching in a synagogue. "It was hot, dusty, but very exhilarating" says Doug Thomas, Director of Photography overseas. "The crew and even the guides helped carry all the equipment cases up the hillside in Nazareth Village. We established a home base for our gear and then we would stage and light the various scenes that we needed to shoot for that day. It was exhausting work, we always had to be on schedule working directly from our story boards. While one scene was being blocked and taped the next scene was being lined up, wardrobe selected and the advance team would begin lighting. We created beautiful pictures." In the occupied territories at a Catholic parish, NGM taped an early Christian house worship service with a full meal as well as a Eucharist. "That was pure chaos," says Judy. "We arrived on Sunday afternoon after the last Mass and there were 30-some people putting on costumes, food platters arriving, a crazed goat we tried to work into the scene (unsuccessfully), and no one speaking any English—only Arabic." Christopher gave direction in English to translators and guides Ghassan Makhalfeh, Amer Shehade and Tony Hosch who spoke to the actors. "We still know how to say 'Do it again' in Arabic!" said Salvador.

Actors and sets were shot in Israel, in authentic locations and reenactments were filmed in the NGM studio and in surrounding local areas. Doug Thomas handled all oversees photography and Lynn King, NGM's Director of Photography, shot interviews conducted in the US and local dramatizations. "We worked very hard at maintaining authenticity in our dramatic scenes. Our studio and surrounding area became an 18th century monastery, a desert in Egypt, a gathering of Grecian women and even an arena of Gnostic mysticism. Each day of production on Jesus Decoded was a trip into history" says Lynn.

Finally, the project went to post production. Four hundred hours later, utilizing over forty hours of video material, hours of music and scores of photographs, the documentary was meticulously assembled by the skillful touch of post production director, Larry Bilinski. "Due to overages in the shooting schedule, I found myself having to do roughly ten weeks of editing in just under five. It was probably the most challenging schedule I've ever faced." An evolving script further complicated matters. "It really was a moving target. The process of revising and making adjustments was almost continuous throughout the schedule. There often was a sense of running in place while the delivery date continued to chase us down." But Bilinski was no stranger to pressure. "I'm really at my best with my back against the wall, and that inspiration, combined with the amazing material I was working with really made for an exhilarating experience". Some of that exhilaration was infused into the program itself, and careful consideration was given to pacing and music selections, as well as the program's energetic opening. "The main title sequence was one of the first things completed for the program. I really wanted to throw the audience a bit of a curve ball...let them know early on that this program was not going to be a traditional, solemn religious documentary." Final delivery of Jesus Decoded was made with just hours to spare. "It came right down to the wire" recalls Bilinski, "but it really was a once in a life time opportunity and a great challenge for all of us at NGM."

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Director, Christopher Salvador and writer/ producer Judith Zielinski scouting on location in Ephesus, Turkey.

Director, Christopher Salvador and Cameraman Douglas Thomas taping the Leonardo da Vinci’s Last Supper on location at Santa Maria delle Grazie in Milan, Italy.

Taping a Mary Magdalene reenactment on location at Nazareth Village, Nazareth, Israel.

Early Christian Worship Reenactment in the West Bank community of Taybeh.

Location recreation of a Gnostic who believed humans contained a "spark of the divine."

Director/Producer Christopher Salvador, Cameraman Doug Thomas and Producer/Writer Judith Zielinski,OSF, on location in Rome. Taping the statues on the rooftop of St. Peter’s Basilica in Vatican City from the Braccio di Carlomagno.