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Rat Flavoured Rats posted:There's a new 6 minute prequel, 'The Doctor's Meditation', up on the Facebook page. No sign of it on the iPlayer yet. I spent a lot of time making flags for this. The flags are not in it.
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Sep 18, 2015 23:46
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Rochallor posted:If any of them still exist, I'd love it if they threw some movie Daleks in there from time to time. Partly because they look great and partly because it would confuse continuity even further. We had one - another fan hire - but weren't allowed to use it. This is the first time I've seen Missy/Gomez, she's incredible. echoplex fucked around with this message at 23:24 on Sep 20, 2015 |
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Sep 20, 2015 23:18
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You will of course note that the video screen there has a subtle overlay of a regeneration effect over it, because we care about the details.
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Sep 27, 2015 02:23
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Jerusalem posted:Forgive me if I missed any explanation you gave earlier, but how involved in the production were (are?) you? Just producing stuff (I assume props?) for particular episodes or working on the season as a whole? Exactly how much time and effort goes into things that might flash by on the screen in a single moment (or be cut entirely, as happened with your flags)? Were you operating under a single production crew or just shifting about here and there as individual episodes/filming blocks etc might have demanded? There's no specific cool stories, but just stuff you can imagine when watching the episodes - seeing Peter - who will always be Malcom Tucker to me - spinnig about in the Davros chair or working with loads of Daleks is just... surreal. I never, ever got bored of being around the TARDISeseses, all those Daleks, and the sets in general. Maybe once xmas is aired I can talk about it a little bit but I'm sort of not here to drop exclusive insider knowledge or anything - I just like reading people's reactions as they watch the episode - the job is a very intense little bubble and it's sort of nice to see people actually engage with it (for better or worse). My job was Graphic Designer for series 9, which generally speaking is the best job in the Art Department, and in the case of DW I think might be the best job in the world. Printed props, background stuff like posters, signage, books, bottle labels, big stuff like control panels, ENORMOUS PERSPEX MAPS, video screens, cut vinyls, little sticky labels, number plates, etched details on props etc is all my remit. It's a bloody tough job because DW is more graphics-intensive than the majority of shows, but I could honestly churn out backlit perspex control panels all day. It was the job of dreams. It's not like Star Trek which has the same 6 sets and then a Planet of the Week, it's something completely new every single time. I did waaaaay more than the usual amount of work to on some eps - by choice - because the work was irresistible. Why design two posters for the cantina bar WHEN YOU CAN MAKE SEVEN (answer: because only 1 was visible in the final edit). The UNIT control room took me about 8, maybe 9 solid days of work for something that's on screen for less than 10 minutes. It's hilarious how little of what we did is visible in those scenes - there must have been about 15 individual video screens in there - which meant 7 different looping video readouts - mocked up over a couple of days in Photoshop and animated by a friend of mine. The massive map took about 4 days of work in Illustrator, working out what looked good or not too busy, what the laser cutter could cope with, etc. All of this while working out a new graphic identity for UNIT in terms of symbols/typeface (the logo remains unchanged), doing things like paperwork on the desks, vinyl graphics for the cases and cabinets, etc...on any given job they only show 10% of what you make, you just have to make sure there are no blank corners. MrL_JaKiri posted:I'm really really sorry echoplex, but when I read this I forgot you worked on it and thought you were going for satire (because approximately 0% of the non-prop bits of the episode were "about the details") I'm not a DW fan, but I always felt from the attitude in this thread that DW is quite like Star Trek in that the 'canon' isn't immutable and serves stories going forward, rather than everything being Wiki-citation correct (don't quote me on this, I'm not the scriptwriter). It's a shame when people don't like it, because the crew I worked with were hardcore as balls and really pushed to make the show as good as it can be, but I do realise that's only a small part of it. echoplex fucked around with this message at 23:45 on Sep 28, 2015 |
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Sep 28, 2015 23:16
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Kikka posted:Well there's also Daleks from the 70's, 80's, 90's, 2005 and 2008. I don't think they had to "track down" an old Dalek prop either, they're the BBC. Hey, look at this guy, he knows everything about how the show is made. Let's all listen to him!
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Sep 29, 2015 17:06
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Burkion posted:One thing I do feel like I owe explaining to you- I have absolutely zero problems with your work, or really any of the work of the actors or prop people. I may laugh about stone pillar being used instead of metal or whatever else, but all of that is minor. MrL_JaKiri posted:There's a distinction between not liking the story and not liking the production. I don't doubt that all the people involved work very hard - as is traditional on Doctor Who - to deliver the best they can with the budget available. I just personally don't like the stories, or the style of stories, that Moffat appears to be choosing to do at the moment. Very good of both of you to say - I don't take anything that's said on here personally (nor is it my place to, I don't speak for DW). I just feel compelled to point out that DW does a lot on a television timeframe, and any perceived visual laziness/sloppiness is 99.9% of the time down to that. A friend of mine has just finished a large feature film and they've had a year and a half to prep a 2 hour film with half the sets we have over the tens of hours DW runs for in less than a year. The irony about doing a show about time travel is that it takes... a lot of time that you don't have. echoplex fucked around with this message at 17:24 on Sep 29, 2015 |
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Sep 29, 2015 17:20
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The_Doctor posted:Indeed, the original sits in an office window just off Warren Street in London. Is he the black one? The sports car one? He is my favourite.
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Sep 29, 2015 20:51
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Mr Beens posted:I loved the cards - did you manage to capture the others? I made these! All those control panels - especially the big map - in the control room are so, so washed out because of a printing issue. loving gutted. Episode was cracking, though.
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Oct 4, 2015 21:35
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MrL_JaKiri posted:Printing error? Should have got the Doctor Who thread on SA to help you Was a case of the specialised digital flatbed we use locally breaking down on a thursday night with just a friday to get 20-odd panels printed elsewhere in a different way - if I remember right, onto clear vinyl which looked great when not backlit, and even in person, but obviously the exposure was bumped on the camera making them blow out a bit. First episode we shot of this series, though, so a bit of a learning curve for me. Now every printing company in Cardiff hates me! The_Doctor posted:When they pushed buttons, they lit up. Was that digital effects added afterwards? It was, which I didn't know about until I saw the preview and I was very pelased with how they did it (and how well the actor 'used' the panels) Patrovsky posted:The important question is, what do the rest of the cards say? I shaln't say because it would be nice if they came back and I don't want to spoil things. The_Doctor posted:Cass' translator, Lunn, has the most amazing eyebrows. I'm guessing you're rooting for Tamal tonight then?
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Oct 7, 2015 19:05
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Jerusalem posted:The 4th Wall Breaking was a little bit much for me, but otherwise that was a thoroughly enjoyable episode and a nice follow-up to the first part. That was my favourite part. I thought Peter nailed it, I could watch that all day. I was going to ask if that happened often, but going by the replies in this thread, obviously not. That was some good direction! The_Doctor posted:That was alright. I like a quiet thoughtful story like that. The Fisher King looked really good. Such a great suit, I thought. Peter Serafinowicz seemed a bit 'soft' for the voice in my head but I'm not sure how much horrifying it needed to be for the target audience. Jerusalem posted:Before the Flood gifs I did such a brilliant digitally painted prop to go in this scene and it didn't show up  There's a couple of shots of the hearse at the base covered in morning frost which I thought were really, really nice. That was quite a sight at 6am. 
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Oct 11, 2015 17:54
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thexerox123 posted:Knowing Paul Kaye primarily from It's All Gone Pete Tong.... I had no idea that was him as Prentis! I've worked with Kaye a couple of times, he's actually a very good actor, which as someone who grew up with Dennis Pennis, sort of surprised me. I saw he was doing adverts for online Casinos a few years back so I'm really glad he's bouncing upwards again. How many seasons of GoT has he not been in now? Now that's a show that loves dropping storylines.
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Oct 14, 2015 07:36
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PriorMarcus posted:Nah, that's Eleven's first one. But, yeah, supposedly were due one this season or maybe in the Christmas special. You're looking at it. It's the added roundels which were there from the start of the series. echoplex fucked around with this message at 11:43 on Oct 19, 2015 |
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Oct 19, 2015 11:33
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Yeah they were - it's designed to be shot from every level, and the cramped nature with more people is intentional. It's not the Enterprise - if there's more than the Doctor and his pal in that space then it means Something Is Happening so it makes sense on a dramatic level to make it feel dense/cramped. I actually think they use that space really well - the beginning of Ep4 especially. There's effectively 4 levels to that set and each one has a purpose - I think it works well. My Rembrandt for Ep 4 finally showed up in the background of Ep 5 in the upper gallery, but far too fleetingly for my liking
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Oct 19, 2015 12:48
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Neddy Seagoon posted:Except that it's the TARDIS. The whole premise of the set is "bigger on the inside", and going for something that feels cramped doesn't gel well with that. (Yes I know; it's inside a phonebox to start with, but relatively speaking). Plus at the end of the day, it's still a centerpiece TV set that doesn't give the actors proper room to move around in. Saying "it has 4 levels" doesn't work at all either, because at best you're only ever going to see two at once, and the others will never be in the same shot. They can't even manage a decent wide shot of both the central console and the gantry either, because except for very specific angles the Console itself gets in the way. Yeah, but it's also not designed with nerdchecking facts in mind - I'm sure according to DW cannon it could be the size of a football pitch but it's designed to have an intimate, tight core where the action/problemsolving/drama takes place. The whole set has massive steel beams that lead down into that central core deliberately to hem things in. Whenever there's a scene happening at the console it's usually chaotic and urgent - moving around those unergonmic panels, lots of light and movement in the foreground from the blocking elements - all of this is deliberate. Also, the set is bloody massive - if you think people don't have the room to move around in then that's more a consequence of TV directing where there isn't loads of time to set up a shot. I've also seen shots where they make full use of the vertical hight, so saying it has levels works for me. Not to make a pun, but that set can be as big or small as you want it to be. You might feel that this actually does the opposite - but I think this scene makes great use of the geography of the set. It can feel big when you want it to - there's panning and tracking shots, and then you're right in there for chaotic action. https://www.youtube.com/watch?v=4F84WapAH7M Not all of our sets are great, but the current TARDIS is pretty much the perfect sci-fi action set. echoplex fucked around with this message at 15:34 on Oct 19, 2015 |
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Oct 19, 2015 15:30
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Well the argument there is that that's what cranes/platforms/floaters/rigs etc are for which is how I assume they shot similar spaced sets like DS9's Ops or CIC in BSG, but we don't seem to use them all that much, presumably because of time. I think the space is fine - and it's in line with the more film-size direction the sets have taken over this/recent years, but it just sometimes isn't shot in the best way (this sounds like a weak defence, but it makes sense from here). I think if you took that set as it was and dropped it into a feature film then you'd get a lot more out of it, but that's the nature of telly etc etc etc.
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Oct 19, 2015 16:22
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The nature of telly: shrugging your shoulders and going "oh well"
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Oct 19, 2015 16:25
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Watching him try out the Davros chair backstage was joyous if only for how much he was enjoying himself.
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Oct 23, 2015 16:16
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Mr Beens posted:The fake horse that they made Capaldi jump about on for his closeups was hilariously bad. Andrew is a valued member of our team and does his best.
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Oct 25, 2015 02:29
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Wheat Loaf posted:Must be honest, rewatching it, I think the "next time" clip makes the next instalment look like a bad episode of Spooks. I hope it's good - that was a *very* painful pair of episodes to make (for me, specifically, in terms of workload).
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Oct 26, 2015 20:24
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Hmmm.
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Oct 31, 2015 22:06
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MrL_JaKiri posted:I'm not just saying that, either; it looked really good. Thanks! Visually I think it's one of our strongest and pretty much every set was huge amounts of work (literally everything in the Chuch set was printed - the boards, the tables etc) I will say that that episode was more blunt/on the nose on paper, so I thought the final version was an improvement.
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Oct 31, 2015 23:05
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Proposition Joe posted:Also did they actually spend budget on location shots in New Mexico for no reason, for this episode of all episodes? Fuerteventura. It's always Fuerteventura. Infinitum posted:And it's a 2 parter? Don't use my work for evil!
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Nov 1, 2015 11:07
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Wheat Loaf posted:Rebecca Front was in this episode (I believe she was playing Curtis LeMay). Another TTOI reunion. I made her a nice laser-engraved ID badge full of TTOI refs which APPARENTLY SHE DOESN'T WEAR
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Nov 2, 2015 19:41
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The_Doctor posted:Echoplex, you hack. That was the work experience kids, I didn't catch it before it went out. I did actually hide all that stuff away on set but the standbys (or even the actors) will root through and take what they want for the close-ups. (my injoke stuff is much, much smaller) Can you give me the link to that? echoplex fucked around with this message at 19:26 on Nov 3, 2015 |
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Nov 3, 2015 19:20
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Re: Galifreyan - no-one in house could tell me the 'proper' usage for it and looking online wasn't much help, so I apologise in advance for any wookiepedia rage I cause with how it's used. The Doctor getting an off-the-shelf smartphone (I thought that would ire people here but no-one seems to have mentioned it) was quite late on in the episode which caused a bit of a tizz because I had to design a Gallifreyan OS for it which could also link visually to the TARDIS. The first version I did was actually for Clara's phone when she was in the Viking hall (rationalising that the Doctor would jailbreak her phone to work with the TARDIS), but you never saw that. I think the Osgood alert coming in on the TARDIS screen is the first you've seen of it, and it's pretty much just spinning/flashing Galifreyan symbols. I've done tonnes and tonnes of screen for his phone but you'll never see any of them. I did notice that the UNIT OS I put on Osgood's phone got a load of nice closeups, including the actress accidentally opening up the photo viewer menu as she went... not sure how that made the cut. I didn't think I'd be doing so many mobile phones when I started DW. echoplex fucked around with this message at 19:33 on Nov 3, 2015 |
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Nov 3, 2015 19:29
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MrL_JaKiri posted:http://www.bbc.co.uk/programmes/articles/57p333pq3KZh8q4vzNwGn8z/the-zygon-invasion-the-fact-file FFS. (thanks)
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Nov 3, 2015 19:36
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Pesky Splinter posted:Can you say what was on it? If you can't that's fine, I understand I'll post it next weekend, it's nothing very interesting, mostly to amuse myself. I can't complain too much - usually only about 30% of what I make gets seen, this episode has been better so far.
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Nov 3, 2015 20:53
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PriorMarcus posted:I don't believe for a moment that's the actual reason why. Well, no-one knows more about how the production is made than you, so let's go with this.
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Nov 6, 2015 17:31
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Etoine's forced normalisations/big zygony puckery bits/swelling face felt like a proper bit of DW horror that I very occasionally glimpsed as a young'un. Surprised they went that far with it but the Fleet estate stuff was nice and spooky (I just realised: the river fleet was supposed to be play a big part in this but was never mentioned - I wondered why they didn't show the charts of it in the church in P1)2house2fly posted:I thought that was an okay two-parter in all, with some stupid bits, the standout for me being that Kate survived by just... shooting the zygon I genuinely laughed out loud at that. "How did you survive??!!?" *shoots zygon in face* Wheat Loaf posted:The episode was obviously about the Troubles and the Belfast Agreement. This makes the two visible DeLorean references I got in the episode entirely apposite then. CaptainYesterday posted:The Doctor's monologue in the Black Archive is, without a doubt, the best performance Capaldi has given in his tenure. Simply outstanding. There's something I can't put my finger on, but I often feel he has less gravitas than he did as Malcom. I honestly don't know what it is - the comparative pace of the lines, the editing, the way he delivers his lines or even something as banal as the sound mix, but he doesn't quite have the punch that he had in TTOI which I think would make those speeches better. E: and also, props to the makeup and costume dudes (but not the props dudes) for making Evil Clara with very little change the the wardrobe. Thought Jenna was great at a scenery-chewing baddie. echoplex fucked around with this message at 10:58 on Nov 9, 2015 |
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Nov 9, 2015 10:55
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Lampsacus posted:I was thinking about this during the episode. I think its because he doesn't have as long lines. He is great at pacing around the room working monologues but the short punchy lines of the Doctor don't run with his style so well Yeah, that makes a lot of sense now you say it. Would also account for why my favourite bit of the series was him talking to camera at the start of 4.
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Nov 9, 2015 13:15
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The_Doctor posted:Of course! I need to find the Secret Santa organiser I used last year which let you choose options like 'X cannot give to Y'. Can whoever I get actually like S9 please? Sure I've got a neat thing to give but at this rate it's a niche audience.
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Nov 10, 2015 15:33
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Stayne Falls posted:Extreeeemely vague non-spoilers for the season finale here, but I read something online from Capaldi: I remember hearing him shout "BUT WHAT BUTTONS AM I SUPPOSED TO PRESS" so I don't know if that counts. It's a bit mixed, normally as the graphic designer you tend not to go near set when they're actually shooting on it, but on DW it was almost a case of us painting the sets while they're rehearsing on them, it's so tightly paced, so you do overhear things. Alex Kingston was really lovely about some of our sets (and particularly the graphics, yay). Some of the actors had specific requests for graphics-based props - Jenna was great in terms of thinking of things her character should have, meanings and references and the like (which goes against the opinion I read on here a lot about how she wasn't that bothered about the show). The best feedback was usually when I did things like the invites for her leaving do or the wrap party  I was trying to think of what set he meant - and if it's the one I think it is then that's nice because that was definitely a scrum to make that set and I wasn't that happy about the bits I did. But there's a lot of great stuff in 12. I did A Midsummer's Night Dream right after DW, which was shot in the DW studios with all the same crew, and that was produced/written by RTD and he is, without doubt, the nicest man in television. Really good feedback, very kind, and actually a great aesthetic eye (which is rare with producers).
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Nov 13, 2015 10:44
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I'm always serious.Little_wh0re posted:Can you think of/name examples because this sounds lovely :3 Not yet - still yet to be aired (and probably won't be seen as is often the case) echoplex fucked around with this message at 12:03 on Nov 13, 2015 |
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Nov 13, 2015 12:00
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This one is... something.
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Nov 14, 2015 21:23
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...there we go.Fil5000 posted:I see sheersmith got hold of a babylon 5 uniform. Be nice, that's where the money went!
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Nov 14, 2015 21:31
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Man I took 3 weeks off DW during this episode to go work on something less stressful (Cuffs) but before I left I did an entire Indo-Japanse alphabet and you never saw it.
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Nov 14, 2015 22:04
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Jerusalem posted:At the end when Shearsmith is tapping away on the computer, I didn't recognize the symbols on the "keyboard" - I assume that was the alphabet? I and a really, really good work experience kid did tonnes of labelling and bulkhead graphics for that set and apparently in my absence none of that got put up. Really nice, A4 labels in various kinds of golds and foils. Our setbuilts are always slightly cheap looking because a) we have no money b) we have no time, so what saves them is how they're dressed. Sort of gutted with how the corridors came out. I think you're right, I usually do a run on the iPlayer after to pick out my work for the portfolio. How good does that street set look for next week, though - dead pleased with that.
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Nov 14, 2015 22:09
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Jerusalem posted:I actually assumed it would turn out they were all in pods/the whole thing was a dream. That would have been hokey but probably better than the ending we got (or rather, didn't get). My girlfriend said that too - having read the script I knew where it was going but its really interesting to see so many people get that idea from it. I actually think this episode turned out stronger than the shooting script suggested it would, the atmosphere overall was really good. I will say (diplomatically) that I think Ep9 is the least-strong of all of them, and I think 10 & 11 are the strongest (on paper anyway), so I'm looking forward to the next two episodes.
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Nov 14, 2015 22:13
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Mr Beens posted:Can you explain the point of the episode and what happened at the end - are we all missing something? I actually can't remember without reading the script again, but I think it's been changed in the edit from the shooting draught so may not be much help. Just remembered the how apt this episode being about the dangers of not sleeping was - I managed to scalpel a nice bit of finger off myself making Ep10.
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Nov 14, 2015 22:23
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The_Doctor posted:Echoplex, did you do all the little helmet projection graphics? Those were pretty nifty. Nah, unfortunately. Motion stuff gets farmed out - I designed the layouts for some eps with an animator working on them, and for other eps (like this one) someone else did them all themselves. They were practical projections, which was nice.
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Nov 14, 2015 22:37
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