W ith time so tight on studio recording days, there wasn’t much room for indulging in artistic flourishes or experimental shooting techniques. But they weren’t unknown.
Inferno, the fourth episode of The Romans, included a rare ‘wipe’ effect, with a line sweeping from right to left across the scene to change camera shots as Ian and Delos entered the palace. In Escape Switch, the tenth episode of The Daleks’ Master Plan, Douglas Camfield mixedthe over-stretched production team on The Space Museum from the blazing Egyptian sun to a light reflecting on a Dalek dome. And still managed to find time to photograph William Hartnell in a Victorian bathing costume for the mind-probe sequence. these might seem trivial from today’s perspective, but they show how directors