0:00:02 > 0:00:03Action.
0:00:03 > 0:00:04SCREAMING Amy!
0:00:04 > 0:00:06The ground's got my legs!
0:00:06 > 0:00:10Poor Karen Gillan getting sucked through the earth.
0:00:10 > 0:00:14It was one of the scariest things... Definitely the scariest stunt I've done.
0:00:17 > 0:00:21We exclusively reveal what happens after the cameras stop rolling.
0:00:21 > 0:00:25We follow the making of an episode from edit suite to broadcast.
0:00:25 > 0:00:27'Now on BBC One, here's a sneak preview...'
0:00:27 > 0:00:29Five, four, three, two, one...
0:00:52 > 0:00:56We're on set with the cast and crew of Doctor Who
0:00:56 > 0:00:59as the companion prepares for the earth to move.
0:00:59 > 0:01:03# There I was, digging this hole Hole in the ground
0:01:03 > 0:01:05# So big and sort of round, it was
0:01:05 > 0:01:09# And there was I, digging it deep It was flat at the bottom
0:01:09 > 0:01:12# And the sides were steep When along comes this bloke
0:01:12 > 0:01:16# In a bowler which he lifted and scratched his head
0:01:16 > 0:01:19# Do you mind if I make a suggestion?
0:01:19 > 0:01:21# Don't dig there, dig it elsewhere
0:01:21 > 0:01:24# You're digging it round and it ought to be square
0:01:24 > 0:01:27# The shape of it's wrong It's much too long
0:01:27 > 0:01:31# And you can't put a hole where a hole don't belong
0:01:32 > 0:01:33# And that's that. #
0:01:33 > 0:01:35Poor Karen Gillan,
0:01:35 > 0:01:36getting sucked through
0:01:36 > 0:01:40the earth. She was very brave. Gotta love her.
0:01:42 > 0:01:44Was that fun down there?
0:01:44 > 0:01:45It's just like a little hole.
0:01:45 > 0:01:47I'm quite scared now!
0:01:47 > 0:01:51I've just been shown the device that's going to be used
0:01:51 > 0:01:53for me being sucked under the ground
0:01:53 > 0:01:57and it's quite scary cos there's just this hole, room-type thing,
0:01:57 > 0:02:01underground, and then there's this kind of rubber ring that expands
0:02:01 > 0:02:04when I come through it, and I have to hold my breath
0:02:04 > 0:02:08and go under the soil, and it's... I'm quite scared, I have to say.
0:02:08 > 0:02:10But, no, it should be an experience!
0:02:12 > 0:02:14B camera.
0:02:14 > 0:02:16Here we go, and...action!
0:02:16 > 0:02:18SCREAMING Amy!
0:02:18 > 0:02:19The ground's got my legs!
0:02:23 > 0:02:25- I've got you!- Don't let go.- Never.
0:02:25 > 0:02:27- I've got you.- OK.
0:02:27 > 0:02:29- NO!- No!
0:02:29 > 0:02:30It's pulling...
0:02:30 > 0:02:32I'm not going to let you go.
0:02:34 > 0:02:35Amy, no!
0:02:35 > 0:02:37No, no!
0:02:37 > 0:02:39No, no...
0:02:42 > 0:02:43NO!
0:02:43 > 0:02:47It was one of the scariest things... Definitely the scariest stunt I've done.
0:02:47 > 0:02:49The cast might be done for the day,
0:02:49 > 0:02:52but the magic of TV has only just begun.
0:02:52 > 0:02:54I don't think any show on television
0:02:54 > 0:02:57goes through the transformation that Doctor Who does...
0:02:57 > 0:02:59in its post-production.
0:02:59 > 0:03:03As soon as the camera stops, the first thing that gets done is
0:03:03 > 0:03:05I jump into the edit suite, really,
0:03:05 > 0:03:07and we start to put things together.
0:03:17 > 0:03:20The job of the editor is to...
0:03:20 > 0:03:23go through all the material in the director's shoots
0:03:23 > 0:03:27and find the best performances, the best storytelling,
0:03:27 > 0:03:30and basically bring it all together
0:03:30 > 0:03:34to make a good scene which then goes into making a good show.
0:03:34 > 0:03:37We're sort of re-birthing the story, in a way,
0:03:37 > 0:03:41finding out what actually the nitty-gritty of the story is,
0:03:41 > 0:03:44and really honing that over quite a number of weeks, really,
0:03:44 > 0:03:45and quite a number of versions.
0:03:45 > 0:03:47What do we do now?
0:03:47 > 0:03:51That process takes three, four weeks.
0:03:51 > 0:03:55Once that's done, then it goes off various directions as a programme,
0:03:55 > 0:03:56gets split everywhere.
0:03:56 > 0:04:00Next, it's off to visual effects company, The Mill,
0:04:00 > 0:04:03where they add all the computer-generated images.
0:04:03 > 0:04:06At the end of episode eight, the Silurian city is revealed.
0:04:06 > 0:04:09It's a sort of classic...
0:04:09 > 0:04:13map painting, which is one of the main areas of work we do
0:04:13 > 0:04:15on Doctor Who, to create environments that don't exist.
0:04:15 > 0:04:18That will be shot against a big green screen,
0:04:18 > 0:04:20with a partial set,
0:04:20 > 0:04:23and we will then go and set about creating
0:04:23 > 0:04:26the under-earth city of the Silurians
0:04:26 > 0:04:29to try and match the concept that's been approved.
0:04:29 > 0:04:33Aside from making the majority of the visual effects
0:04:33 > 0:04:36in the new Doctor Who series,
0:04:36 > 0:04:39we also grade the programmes as well.
0:04:39 > 0:04:44That involves one of our colourists
0:04:44 > 0:04:47sitting down for two days, generally, an episode...
0:04:49 > 0:04:52..having a look and balancing out all the colour in the picture
0:04:52 > 0:04:54for an episode.
0:04:55 > 0:04:59So what we have here is an end sequence in the TARDIS,
0:04:59 > 0:05:03and if I just run three shots together, we have this shot...
0:05:04 > 0:05:07..the next shot is ungraded...
0:05:08 > 0:05:11..that's straight out of the camera, and then this shot is graded.
0:05:11 > 0:05:16So my job now is to make this scene here
0:05:16 > 0:05:18fit in with the other shots around it.
0:05:18 > 0:05:22So if I start, and just put some contrast in first
0:05:22 > 0:05:27and just make the picture start to look a bit more interesting,
0:05:27 > 0:05:31maybe this is about right. But the only problem we've got here now
0:05:31 > 0:05:34is that, over on the left-hand side of the screen,
0:05:34 > 0:05:37where the Doctor and his assistant are coming into shot,
0:05:37 > 0:05:39we can't really see them.
0:05:39 > 0:05:41So...
0:05:41 > 0:05:44here, I can start drawing shapes on the screen.
0:05:44 > 0:05:48If you can imagine doing all this with your Photoshop at home,
0:05:48 > 0:05:53and wondering how quickly this is responding,
0:05:53 > 0:05:56I now have to hide this, cos I don't want anyone to see what I've done here.
0:05:56 > 0:05:59So, using some of these tools here...
0:05:59 > 0:06:01So we can now run that.
0:06:01 > 0:06:04If we just run the shot to make sure it looks OK.
0:06:04 > 0:06:06It's starting to feel right.
0:06:06 > 0:06:10I can see what's going on. The whole point of this shot is they're coming in.
0:06:10 > 0:06:12I think we could probably go with this.
0:06:20 > 0:06:22I'm in my nighty.
0:06:22 > 0:06:25Sound is incredibly important in Doctor Who.
0:06:25 > 0:06:30Just the noises of places - it's no longer clunking, wooden sets,
0:06:30 > 0:06:32it's metal corridors or stone corridors.
0:06:34 > 0:06:37CLUNKING
0:06:37 > 0:06:39'I'm a Foley artist.'
0:06:39 > 0:06:42We have to replace all the physical sounds
0:06:42 > 0:06:43for the whole programme.
0:06:43 > 0:06:46It's basically replacing everything
0:06:46 > 0:06:48to add to the finished product
0:06:48 > 0:06:52and for when it's sold to other countries
0:06:52 > 0:06:55and the dialogue is removed and their own language is dubbed on.
0:06:55 > 0:06:58I'm the sound effects editor on Doctor Who.
0:07:03 > 0:07:07Sound effects are all the extra things, the additional things
0:07:07 > 0:07:10that we put into the show.
0:07:10 > 0:07:15The backgrounds, you have to create atmospheres to make you believe you're in these locations,
0:07:15 > 0:07:20things like punches, the sonic screwdriver, explosions,
0:07:20 > 0:07:23all the juicy bits, really, all the additional bits
0:07:23 > 0:07:25that the sound didn't exist on location -
0:07:25 > 0:07:26I add all those in.
0:07:27 > 0:07:30# I'm a sucker for your sound
0:07:30 > 0:07:34# And I love it when you're loud
0:07:34 > 0:07:37# I'm a sucker for your sound
0:07:37 > 0:07:40# You know I'm playing with you now... #
0:07:44 > 0:07:49For the soil, when the character gets dragged down
0:07:49 > 0:07:50by the Silurians...
0:07:59 > 0:08:01Soil's quite difficult to do,
0:08:01 > 0:08:05because it doesn't actually make very much noise on its own.
0:08:05 > 0:08:08So we've got it on a big cloth,
0:08:08 > 0:08:11and that sort of enables you to get more volume out of it.
0:08:20 > 0:08:24SOIL CRUNCHES AND RUSHES
0:08:27 > 0:08:30When David Tennant left the show last Christmas,
0:08:30 > 0:08:32he took the TARDIS with him.
0:08:32 > 0:08:35It was in a bad state, and so now we've got a new TARDIS,
0:08:35 > 0:08:39regenerated, and with the regeneration
0:08:39 > 0:08:41comes a new set of sounds.
0:08:41 > 0:08:44Out has gone the creaky door for the TARDIS,
0:08:44 > 0:08:48um...he's finally oiled it after all these years.
0:08:48 > 0:08:51It's not altogether new, because
0:08:51 > 0:08:54I've got access to the Radiophonic Workshop archive
0:08:54 > 0:08:58and I thought, it looks to me more like some of the older TARDISes,
0:08:58 > 0:09:02so I've got a sound in there that is one of the background sounds
0:09:02 > 0:09:06that was used in the '70s and '80s.
0:09:06 > 0:09:08This is what it sounds like altogether.
0:09:08 > 0:09:09WHIRRING, HUMMING
0:09:11 > 0:09:12LOW-PITCHED HUM
0:09:12 > 0:09:16But that's the old Radiophonic sound. It's just one element...
0:09:16 > 0:09:17HE PRESSES BUTTON
0:09:17 > 0:09:19WHIRRING OVER LOW-PITCHED HUM
0:09:19 > 0:09:23If you play them together, you may not hear it. But I know it's there.
0:09:23 > 0:09:25LOW-PITCHED HUM
0:09:25 > 0:09:26That's it by itself again now.
0:09:26 > 0:09:29With the TARDIS door, Paul the effects editor
0:09:29 > 0:09:31will have laid the specially-created sound
0:09:31 > 0:09:33for a TARDIS door.
0:09:33 > 0:09:38So what we're doing is adding the physical... An extra element,
0:09:38 > 0:09:42so if the Doctor touches it and does something with the latch on it,
0:09:42 > 0:09:46that will go with the other effects and be mixed together in the dub.
0:09:49 > 0:09:50- DOOR CLOSES - Well, that was quick.
0:09:50 > 0:09:55We don't always use the same object because we may not have access to it
0:09:55 > 0:09:59and also sometimes things don't make the sound you expect them to.
0:09:59 > 0:10:03The actual, physical object may make no noise,
0:10:03 > 0:10:05but you want it to make a specific noise
0:10:05 > 0:10:09you have to add to it or just improvise.
0:10:12 > 0:10:14RATTLING Can't be.
0:10:16 > 0:10:18RATTLING
0:10:18 > 0:10:19It is!
0:10:21 > 0:10:23- It's you two.- No... - RATTLING
0:10:23 > 0:10:26We're here. How can we be up there?
0:10:31 > 0:10:33RATTLING
0:10:33 > 0:10:34THUD
0:10:41 > 0:10:43Sonic!
0:10:44 > 0:10:47Well, the new Doctor's got a new screwdriver
0:10:47 > 0:10:50so we're using a vice,
0:10:50 > 0:10:53which has got lots of nice clicky bits on it,
0:10:53 > 0:10:56but it's good for the handling,
0:10:56 > 0:10:59but sometimes you do need to add another element to it
0:10:59 > 0:11:01just to make it easier to use.
0:11:01 > 0:11:03..Now it doesn't...
0:11:03 > 0:11:05RATTLING
0:11:05 > 0:11:09..recent seismological shift and blue grass.
0:11:09 > 0:11:12And again, all the beeps and technical sounds
0:11:12 > 0:11:15will be put on afterwards. So it's just for the handling.
0:11:15 > 0:11:19The sonic screwdriver on location doesn't actually make a sound.
0:11:19 > 0:11:21(No, no, no, no, no...)
0:11:21 > 0:11:23SILENCE
0:11:24 > 0:11:26It would get in the way of the dialogue.
0:11:26 > 0:11:32I put the sonic screwdriver sound in here, and I use this synthesiser.
0:11:32 > 0:11:35So every time the Doctor uses it, I will make a new sound.
0:11:35 > 0:11:37I could make it maybe...
0:11:37 > 0:11:38HIGH-PITCHED WHIRRING
0:11:38 > 0:11:40..a bit higher frequency.
0:11:40 > 0:11:43I'll bend the sound... PITCH BENDS UP AND DOWN
0:11:43 > 0:11:46As he moves it around, if you don't change the sound,
0:11:46 > 0:11:49it doesn't sound like he's moving it around.
0:11:49 > 0:11:52DOCTOR: Restricted access. No unauthorised personnel.
0:11:52 > 0:11:55Hmm.
0:11:55 > 0:11:56WHIRRING, BANG
0:11:56 > 0:11:58That is breaking and entering!
0:11:58 > 0:11:59What did I break?!
0:11:59 > 0:12:02Sonic-ing and entering. Totally different.
0:12:02 > 0:12:05RATTLING AND CLUNKING
0:12:05 > 0:12:07That was great!
0:12:07 > 0:12:11We just missed Amy's hand on the gate.
0:12:11 > 0:12:16One of the best parts of the job is you know that millions of people are watching it.
0:12:16 > 0:12:21I remember doing the stomping sound for the Cybermen.
0:12:21 > 0:12:25STOMPING, CHILDREN GASP
0:12:25 > 0:12:27And then, in the school playground,
0:12:27 > 0:12:30I saw a kid pretending to be a Cyberman,
0:12:30 > 0:12:32going, "Stomp, stomp, stomp!"
0:12:32 > 0:12:35My sound, the kids are reenacting my sound,
0:12:35 > 0:12:39because Doctor Who's that big, it's that good!
0:12:41 > 0:12:43Once all the elements have been finished,
0:12:43 > 0:12:47it's off to the Broadcast Centre for transmission.
0:12:56 > 0:13:00A tape will be delivered in from various sources,
0:13:00 > 0:13:04it will be put into the Flexicarts and we will then
0:13:04 > 0:13:07start to record onto our system.
0:13:07 > 0:13:10from this centre it goes to Television Centre,
0:13:10 > 0:13:13from Television Centre it goes to BT Tower,
0:13:13 > 0:13:15and then from BT Tower it goes into your homes.
0:13:22 > 0:13:27We've got our clip, which today is a Doctor Who trail,
0:13:27 > 0:13:30we've got a helicopter ident, we've put that into our system
0:13:30 > 0:13:33and now we'll run it down with a continuity announcement
0:13:33 > 0:13:37as we would the programme when it goes to air.
0:13:37 > 0:13:42So that's five, four, three, two, one... Cut.
0:13:42 > 0:13:47Eleven, ten, nine, eight, seven, six
0:13:47 > 0:13:50- five, four...- 'Now on BBC One, here's a sneak preview
0:13:50 > 0:13:54- 'of the new series of Doctor Who.' - ..three, two, one... Cut.
0:13:54 > 0:13:56- Who are you?- I'm the Doctor.
0:14:04 > 0:14:07Subtitles by Red Bee Media Ltd
0:14:07 > 0:14:10E-mail subtitling@bbc.co.uk