"Action!" "Take my hand!" "Doctor, the ground's got my legs." "Poor Karen Gillan getting sucked through the earth." "It was, I have to say, one of the scariest things and definitely the most scary stunt I've done." "We exclusively reveal what happens after the cameras stop rolling as we follow the making of an episode from the edit suite to broadcast." " Five, four, three..." "Now on BBCOne, here's a sneak preview of the new series ofDoctor Who." "We're on set with the cast and crew ofDoctor Who, as the companion prepares for the earth to move." "Poor Karen Gillan getting sucked through the earth." "She was very brave, God love her." "Is it fun down there?" "Oh, it's just like a little hole." "Quite scary, though." "I've just been shown the device that's going to be used for me being sucked under the ground." "And it's actually quite scary 'cause there's just like this little hole, room-type thing underground." "And then this kind of rubber ring that expands when I come through it." "And I kinda have to hold my breath and go under the soil." "And I'm quite scared, I have to say." "But no, it should be an experience." "216, take one, A camera, mark." "B camera." "Here we go." "And action!" "Take my hand!" "Doctor, the ground's got my legs." "Take my hand!" " I've got you." " Okay." " Don't let go." " Never." " I've got you." " Okay." " No!" "No!" " No!" "Doctor, it's pulling me down, something's pulling me!" "I'm not going to let you go." "Amy, no!" "No!" "No!" "No!" "No!" "No." "No!" "It was, I have to say, one of the scariest things and definitely the most scary stunt I've done." "The cast might be done for the day, but the magic of TV has only just begun." "I don't think any show on television goes through the transformation that Doctor Who does in its post-production." "As soon as the camera stops, the first thing that gets done is" "I sort of jump into the edit suite, really, and we start to put things together." "The job of the editor is to go through all the material the director shoots, find him the best performances, the best storytelling, and basically bring it all together to make a good scene, which then goes into making a good show." "Oh, yeah, sort of re-birthing the story in a way finding out what actually the nitty gritty of the story is and getting down to that." "And really honing that over quite a number of weeks, really, in quite a number of versions." "What do we do now?" "That process takes three, four weeks." "And once that's done, then it goes off in various directions." "The programme gets split everywhere." "So next, it's off to visual effects company The Mill, where they add all the computer-generated images." "At the end of Episode 8, the Silurian city is revealed." "It's a sort of classic matte painting, which is, you know, one of the main areas of work we do on Doctor Who, to create environments that don't exist." "And that'll be shot against a big green screen with a partial set and we will then go and set about creating the under-Earth city of the Silurians to try and match the concept that's been approved." "Aside from making the large majority of the visual effects in the new Doctor Who series, we also grade the programmes as well." "And that involves one of our colourists sitting down for two days, generally, an episode, adding the kind of look and balancing out all the colour in the picture for an episode." "So what we have here is an end sequence in the Tardis." "And if I just run three shots together, we have this shot." "The next shot is ungraded and that's sort of straight out of the camera, and then this shot is graded." "So, my job now is to make this scene here fit in with the other shots around it." "So, if I start and if I just put some contrast in first, and just to make this picture start to look a bit more interesting." "Maybe this is about right, but the only problem we've got here now is that over on the left-hand side of the screen where the Doctor and his assistant are coming into shot, we can't really see them." "So here, I can start drawing shapes on the screen now." "If you can imagine doing all this with your Photoshop at home, and wondering how quickly this is responding." "I now have to hide this 'cause I don't want anybody to see what I've done here." "So using some of these tools here." "So we can now run that." "So, if we just run the shot to make sure it looks okay..." "It's starting to feel right." "I can see what's going on and the whole point of this shot is they're coming in." "Yeah, I think we can probably go with this." "Why am I in my nightie?" "Sound is incredibly important in Doctor Who." "Just the noises of places, it's no longer clunking wooden sets, it's metal corridors or it's stone corridors." "I'm a Foley Artist, and we have to replace all the physical sounds for the whole programme." "It's basically replacing everything to add to the finished product and for when it's sold to other countries, and the dialogues removed and their own languages dubbed on." "Well, I'm the Sound Effects Editor on Doctor Who." "Sound effects are all the extra things, the additional things that we put into the show." "The background sounds, we have to create atmospheres to make you believe you're in these locations." "Things like punches, the sonic screwdriver, explosions, all the juicy bits, really, all the additional bits." "The sound didn't exist on location, I add all those in." "Well, for the soil, when the Captain gets dragged down by the Silurians..." "What we've got..." "Soil's quite difficult to do because it doesn't actually make very much noise on its own." "So, we've got it on a big cloth, and that sort of enables you to get more volume out of it." "When David Tennant left the show last Christmas, he took the Tardis with him." "It was in a bad state and so now we've got a new Tardis, regenerated." "And with the regeneration comes a new set of sounds." "Out is gone the creaky door for the Tardis, he's finally oiled it after all these years." "It's not altogether new because I've got access to the Radiophonic Workshop archive and I thought it looks to me more like some of the older Tardises, maybe." "So, I've got a sound in there that's one of the background sounds that was used in the '70s and '80s." "This is what it sounds like all together." "But that's the old Radiophonic sound." "It's just one element." "If you play them together, you may not hear it." "But I know it's there." "That's it by itself again now." "With the Tardis door, Paul the Effects Editor will have laid the sound of a specially created sound for a Tardis door." "So, what we do is, we're just sort of adding the physical... an extra element, so if the Doctor touches it and just something for the latch on it that will go with the other effects" "and be mixed together in the dub." "Well, that was quick!" "We don't always use the same object, because we may not have access to it." "And also, sometimes things don't make the sound you expect them to." "The actual physical object may make no noise, but you want it to make a specific noise, so you have to add to it or just improvise." "Can't be." "It is!" " It's you two." "No." "We're here." "How can we be up there?" "Sonic!" "Well, the new Doctor's got a new screwdriver, so, we're using a vice which has got lots of nice clicky bits on it." "But it's good for the handling." "But sometimes you do need to add another element to it just to make it easier to use." "Good thought, but no, it doesn't." "Hear that?" "Drill in start-up mode." "After-waves of a recent seismological shift and blue grass." "And again all the beeps and technical sounds will be put on afterwards." "So, it's just for the handling." "The sonic screwdriver on location doesn't actually make a sound." "No, no, no, no, no, no." "It'd get in the way of the dialogue." "I put the sonic screwdriver sound in here and I use this synthesiser." "And so every time the Doctor uses it, I will make a new sound." "I could make it maybe..." "A bit higher frequency." "I'll bend the sound." "Because if he moves it around, if you don't change the sound, it doesn't sound like he's moving it around." ""Restricted access." ""No unauthorised personnel"." "Hmm." " That is breaking and entering." " What did I break?" "Sonicking and entering, totally different." "That was great." "Oh, we just missed Amy's hand on the gate." "And one of the best parts of the job is that you know that millions of people are watching it." "I remember doing the stomping sound for the Cybermen." "And then in the school playground," "I saw a kid pretending to be a Cyberman and going stomp, stomp, stomp." "That's my sound, you know." "The kids are re-enacting my sound because, you know, Doctor Who's that big." "It's that good." "And once all the elements have been finished, it's off to the Broadcast Centre for transmission." "A tape will be delivered in from various sources." "It will be put into the Flexicarts and we will then start to record onto our system." "From this Centre it goes to Television Centre." "From Television Centre it then goes to the BT Tower." "And then from BT Tower it goes into your homes." "We've got our clip, which today is a Doctor Who trail." "We've got a helicopter ident, we've put that into our system, and now we're going to run it down with a continuity announcement as we would the programme when it goes to air." "So that's five, four, three, two, one." "Cut." "Eleven, ten, nine, eight, seven, six..." " ... five, four, three..." "Now on BBCOne, here's a sneak preview of the new series ofDoctor Who." "Cut." " Who are you?" " I'm the Doctor."