Difference between revisions of "Inside Doctor Who"
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Special props for any science fiction programme demand high imagination and superb technical skills if they are to succeed. But with Dr. Who, props often become major headaches. Whereas Star Trek and Space:1999 have a range of permanent props which appear regularly in almost every single episode — phasers, communicators etc. — only two items have survived the passage of time with the Doctor:. the sonic screw-driver and the Tardis key. Everything has to be built from scratch each episode. "The headaches come when one tries to design a different looking gun or radio from that which has gone before: says Mat. | Special props for any science fiction programme demand high imagination and superb technical skills if they are to succeed. But with Dr. Who, props often become major headaches. Whereas Star Trek and Space:1999 have a range of permanent props which appear regularly in almost every single episode — phasers, communicators etc. — only two items have survived the passage of time with the Doctor:. the sonic screw-driver and the Tardis key. Everything has to be built from scratch each episode. "The headaches come when one tries to design a different looking gun or radio from that which has gone before: says Mat. | ||
| − | Many of the Who props are incredibly complex, containing electronic circuits to make them perform. One example was the 'Marconiscope' a device to 'receive transmission from the stars' which was featured in the story '[[broadwcast: | + | Many of the Who props are incredibly complex, containing electronic circuits to make them perform. One example was the 'Marconiscope' a device to 'receive transmission from the stars' which was featured in the story '[[broadwcast:Pyramids of Mars|The Pyramids of Mars]]'. It was fitted with four motors, a special 'glowing' valve, various lights and three sets of pyrotechnics to allow it to 'explode'. The control box needed for all this ended up looking just as complicated as the Marconiscone itself!. |
Mat Irvine's speciality is model making. "The building of the models is really a specialist subject in itself, but suffice it to say that the craft are made out of practically anything and everything. A rocket will materialise out of an old piece of plastic drainpipe and an alien craft from a block of balsa. Commercial kit parts are used, but not normally as a basis for the model, usually for dressing the final design. However, detailing need not be all that great; upturned saucepans and plastic lampshades make very passable lunar buildings at a distance. 'Earth' can be made from a simple mixture of sawdust, flour and poster-paint colouring scattered loosely over a basic landscape shape." | Mat Irvine's speciality is model making. "The building of the models is really a specialist subject in itself, but suffice it to say that the craft are made out of practically anything and everything. A rocket will materialise out of an old piece of plastic drainpipe and an alien craft from a block of balsa. Commercial kit parts are used, but not normally as a basis for the model, usually for dressing the final design. However, detailing need not be all that great; upturned saucepans and plastic lampshades make very passable lunar buildings at a distance. 'Earth' can be made from a simple mixture of sawdust, flour and poster-paint colouring scattered loosely over a basic landscape shape." | ||
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Filming the model sequences is very different from live' action. To smooth out any bumps and jerks from the models, they are invariably filmed at high speed (anything up to 120 frames per second) and then projected at normal speed (25 fps for television). The models themselves are quite tiny. For instance, the Doctor's famour time-travelling Tardis stands just seven inches tall. Most of the inside is jammed with batteries and electronics to make the light on top flash. For space shots, the models are 'flown' on very fine metal or nylon wires. | Filming the model sequences is very different from live' action. To smooth out any bumps and jerks from the models, they are invariably filmed at high speed (anything up to 120 frames per second) and then projected at normal speed (25 fps for television). The models themselves are quite tiny. For instance, the Doctor's famour time-travelling Tardis stands just seven inches tall. Most of the inside is jammed with batteries and electronics to make the light on top flash. For space shots, the models are 'flown' on very fine metal or nylon wires. | ||
| − | "Explosions are another effect that are performed in miniature and filmed fast," explains Mat. "This spreads the "bang" over a greater period of time and brings it more into line with its full size counterpart. An even greater length of time for a model explosion can be obtained by firing not one, but several charges rapidly, one after the Aber, on a rotary switch. The was the way the Pyramids and Mummies were finally dispatched in ' | + | "Explosions are another effect that are performed in miniature and filmed fast," explains Mat. "This spreads the "bang" over a greater period of time and brings it more into line with its full size counterpart. An even greater length of time for a model explosion can be obtained by firing not one, but several charges rapidly, one after the Aber, on a rotary switch. The was the way the Pyramids and Mummies were finally dispatched in 'The Pyramids of Mars.' |
Although special effects are a major part of Dr. Who - taking anything up to two months for each series — Mat says that they alone cannot make a science fiction programme. This is the reason why he prefers to watch Star Trek to Space:1999 , even though the latter's effects are undoubtedly the best in the business. "Obviously the Anderson stuff is incredible," he says, "but the trouble is you do rather tend to see the same sort of thing over and over. It's like some forms of sci-fi art ... you get a bit whelmed by it. You can't make a series just out of special effects." | Although special effects are a major part of Dr. Who - taking anything up to two months for each series — Mat says that they alone cannot make a science fiction programme. This is the reason why he prefers to watch Star Trek to Space:1999 , even though the latter's effects are undoubtedly the best in the business. "Obviously the Anderson stuff is incredible," he says, "but the trouble is you do rather tend to see the same sort of thing over and over. It's like some forms of sci-fi art ... you get a bit whelmed by it. You can't make a series just out of special effects." | ||
