I think, actually, we're pretty much agreed
that this whole first scene's gonna...
We can deal with the actual cutting
of what we're going to chop bits and pieces from this,
but according to our sheet here, the first, sort of, main shot is this...
MAN: We're giving you everything we've got.
That one.
Yeah, you see, what we could do here is when he says...
It is you, isn't it?
All this, we could deliver this dialogue with the spinning TARDIS.
That would be good.
And if we can get the white energy into that.
Yeah, yeah. So, it's gonna be...
So, it's going to be exterior TARDIS spinning...
But we still see the back of Peter's head before we pop that in, yes?
Well, yeah, I mean, where it goes, in particular,
-we can decide later in the edit. -Right, okay.
Because, obviously, now we're not bound by the constraints of the shot,
-so we can put it in wherever. -Yeah.
Ah, so this'll be the first one for you, so it'll be...
Where do you want the TARDIS in frame where it's spinning?
Just on its centre or...?
Centre, because we haven't...
We won't actually see the materialisation
in this episode, so...
When you say "white energy,"
do you want the white energy to surround the TARDIS
or do you want it just to, kind of, come out of space and go through,
or how are you imagining that?
I had thought that it ought to look as though it's being bombarded
and this is why it's so dark in the TARDIS,
because it's very unusual for it to be as dark as this.
So, when you talk about the energy,
are you imagining it looking like a cloud,
or how do you imagine it looking?
Yes, it's as though something is attacking...
Mmm-hmm.
Rob, how do you reckon we can do that?
Yes, are you talking like, kind of, ghost wisps
attacking it, swirling around it?
-Terrific. -Penetrating it?
Yeah. Yeah, I think that's what we're talking about.
Absolutely. Thanks.
'Cause we're now saying that there is a scanner screen on the bridge,
which is what they look at,
but there's also a window that they're looking out of, bit like...
And the window looking out of is looking forward.
The scanner screen has the ability to look sideways and backwards.
And that's why they use a scanner screen.
So, the window, however we establish it,
if it's in three parts, like a yacht, or...
It shouldn't just look like an absolutely straightforward screen,
and, at this point, all that ought to be outside it is stars.
Moving on to the cliffhanger, of course,
which is not going to be a cliffhanger any more,
but the screen opens
and, Rob, I'm kind of thinking it'll be one of those rotoscope jobs,
where we'll take out...
Uh, we'll lift Turlough, the Doctor and Tegan out from the background,
and we can put a new background in, that's fine.
But it's what the shot is going to show is what we're interested in,
'cause it cuts later...
-To there. -Yep.
It cuts there to all these different sailing ships.
-Oh, there is a riverboat. -Yep.
So, first of all, we have to decide how many ships
are gonna be in the shot.
I would like to see as many as possible,
and I would also like it to look as though we're watching them
trailing away into the distance, so that we're not dead flat on it.
So, they're trailing away, but in perspective.
-Yes, so... -In a line?
Well, not... A staggered line.
Um, and at this point,
there should be the Greek ship,
the Buccaneer, which is the pirate ship,
Davey's ship, which is the clipper.
We can also put a junk in
and also the riverboat, paddling along.
Now, obviously, it would be a cheat to put any reflection of them on water,
because we still shouldn't appreciate
that we're actually in space, at this moment.
But if we can get the junk and the riverboat in,
and any others farther back,
that you feel like coming up with, Rob.
SEMENOFF: Okay.
I think, Rob, what might be a nice idea just for us when we're in the edit,
it would be a nice idea just to have some generic shots
of the Buccaneer and the Shadow, particularly,
just moving through space, so that we can cut the...
If, you know, if we're needing a bit, just...
You know like in Star Trek, when you see the exterior of the ship flying.
-You know, something like that. -Gliding by.
See, I can get you two or three different angles
so it's not the same shot repeating over and over again.
Wonderful.
-What's happening? -We're running before the wind.
We're in some sort of ion drive. It comes to the same thing.
We're going to hit!
And we do.
What do we hit, though?
Do we actually bounce off the atmosphere?
-Yes. -Yeah.
-Oh, God, how do they... -And they haven't got their fenders out.
So, in terms of that shot,
are we going to see it from space looking at the Shadow
or from the ground looking up at the atmosphere?
What do you think?
What do you think, Rob?
SEMENOFF: Well, they're bouncing off, right?
CUMMING: Mmm-hmm.
SEMENOFF: Okay, in the shot... Let's say we're doing it from space.
Where would you see the... Where would you envision Venus?
Like, on the right hand side, left hand side, bottom of the frame?
Right hand side.
SEMENOFF: Okay.
Because we've kept the movement right to left so far,
all the way through, I think, haven't we?
-Yeah. -Yep.
What we could do in this scenario is we could have an option of
seeing it through the bridge window and everything kind of going really quickly
and then the camera moving off, you know, the bridge window, almost...
So you're seeing it from the ship's point of view,
what it's actually doing.
And then we could have the same thing outside, then we can intercut.
So, that it's rollercoastering?
-Yeah. -Yeah.
Yeah, so we see a close-up, we see the bridge window.
Say shot 19 is the bridge window, and the whole sequence,
so shot... It would be somewhere in there, I'm not saying it would be there.
But it would be, shot of the bridge window, Rob,
with all this energy rushing past,
and then it bouncing back into space fairly quickly.
Yeah.
And then we'll have the exact same sequence, exterior,
from space, with Venus on the right, and we see the ship do the same thing,
so that, in edit, we can then cut it together.
-Okay. -And what we've got to make sure is that
the ship doesn't look as though it's got damaged at all.
It's done a sort of... It's got too close,
and there must have been a cushion of "air" or something
-that has bounced it up again. -Skipped. Skipped off it.
The heat of the of Venus has actually been like a thermal current.
-Yeah. -Okay.
-Right, here we go. -Now.
Now, here...
The infamous being...
She's heaving to.
This is the one where we discussed where we'd see the Buccaneer sign
and it slides back, the net's in there, it shoots out,
-then we cut to the cat, cuckoo's... -Yes.
To the crow's nest, looking down.
And we see it just covering a CGI figure.
Yeah, but on the shot, we need to get the feeling
that the Buccaneer is doing a turnaround,
that she has actually stopped. Or not stopped, but she's actually...
But she's not turning right, but she's just slowing down, isn't she?
To pick... To pick him up.
SEMENOFF: What I think would look kind of dramatic would be,
as the asteroids are moving,
they are actually casting a shadow in kind of, like, space dust.
(CHUCKLING)
-Yeah, that's nice. -I like it.
SEMENOFF: So, that's kind of a volumetric lighting,
so you realise that you're in an area of space that is not just empty.
CUMMING: Mmm-hmm.
Yeah, yeah.
I think as long as, as well, in shot 36, you know
where you can actually see the asteroids physically hit...
'Cause the sound effect in the studio is of them hitting the ships,
and, you know, going through the sails.
You know, the only "damage" to the ships, as it were,
would be them going through the sails, but the actual ship itself is fine,
you know, 'cause the rest of it's just bouncing off.
Yeah.
And 4 3, which is the same as 48 and 46,
is the removal of this "vacuum shield off,"
and we agreed that it was gonna be a...
-Graph. -A bar chart, yeah.
-Yep. -Bar chart,
that says something like, air depleting or air going down.
And it's basically the bar chart getting lower and lower
to the danger level as the air gets sucked out.
SEMENOFF: What I'm thinking is, if we establish an effect
for the force field on the little... little skipper boat...
-Yes. -Yeah.
SEMENOFF: We can also use that same effect for the force field on the eye.
-Terrific. -Yeah, makes complete sense.
Yeah, makes complete sense.
Shots 44 and 45 are gonna be ones that we've already established,
those shots, the crystal glowing and the Black Guardian appearing,
they're all established shots.
4 7, 48, 49, we've already established what they're gonna be,
force fields, I think.
Fifty, now, we were just saying
we're just going to have some wires hanging from it, weren't we?
-Yes. -Yeah.
So, shot 50, Rob, is gonna be...
Can you do some little digital wires, showing that it's hanging from the roof?
Like... Like the tentacles of an anemone.
SEMENOFF: Oh, okay.
Kind of holding on to it and it's not so much in the circle, then?
-Yes. -Yeah.
It would almost be as though it was coming out of the black-and-white area.
SEMENOFF: Okay, yeah, I can do that.
And also some activity
in the central, red jewel section.
SEMENOFF: Okay.
Not too much because on 58, we need it to start pulsing.
But if we see that it's not just dead-o in shot 50, that would be great.
Is that okay, Rob?
SEMENOFF: Yeah, but I would probably recommend
me doing that whole shot in CGI.
-Okay, yeah. -All right.
SEMENOFF: That way, it won't look like it's a mix between real and not real.
-Yeah. -Uh-huh.
I think as long as it's still an eye,
because Tegan actually does say, or Turlough does say, "Oh, it's an eye."
SEMENOFF: I will make it look exactly like the central part.
-Right. -Ah, that's brilliant. Okay, now...
And as long as the colour stays the same,
because, of course, it ties up with the jewels.
-SEMENOFF: Yeah, the colour will match. -Good, good.
Right, now, this is the big one.
-The Enlightenment itself. -Yes.
Now, I think that, as you say, it should be a harbour.
-Yes. -But I think Turlough's crystal,
that the Black Guardian has been talking to him with,
that we see in this, I think... It's in shot 44, very big.
But I think that should be the biggest thing in the centre
and the harbour effect should be all around it,
so that there's a little bit of continuity in all three stories,
and it ties up that actually what Turlough's been communicating through
-is a piece of Enlightenment. -Fine.
What do you think about that, Rob?
-SEMENOFF: I think that's a good idea. -Yeah.
Okay, so... So, we'll have Turlough's exact crystal effect
and, Rob, I can send you tons of shots of that
'cause I've actually got Turlough's crystal, thanks to Mike Tucker.
Um, so we'll put...
And we'll make it like ports, we want harbour ports at the front, don't we?
-Yes. -Yeah.
And the colour?
White, because it's light and it is Enlightenment.
So we don't want to add any reds or blues or greens into it.
-So it's pure, white... Diamond like? -Yes.
-Diamond-like. -Hard and shimmering.
And see-through, like a diamond?
No, because, at the back of it, it has the facets.
"Not see-through." Okay.
The shot should be close-up of, or closer of the harbour,
still taking up as much space as that,
and the Buccaneer there, she's actually got there first, almost.
And the little boat arriving, but I don't...
So you want to pull back to reveal the little boat coming into frame?
-Would that be nice? -Yes.
"Pull back." That's it.
Rob, you've got four months.