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[[File:Special Feature - Vision Mixing - Doctor Who - The Sensorites - BBC|thumb|[[Clive Doig]], ''Doctor Who''{{'}}s first vision mixer, explains his job.]]
{{video|Special Feature - Vision Mixing - Doctor Who - The Sensorites - BBC|thumb|[[Clive Doig]], ''Doctor Who''{{'}}s first vision mixer, explains his job.}}
'''Vision mixers''' were regular members of the production crew of the 1963 version of ''[[Doctor Who]]''.
'''Vision mixers''' were regular members of the production crew of the 1963 version of ''[[Doctor Who]]''.


During the recording of a programme, they sat in the control booth above the studio floor and decided when to switch between the — usually ''four'' – cameras that were being used to film an episode, according to the [[director]]'s instructions. They were thus "live [[editor]]s", who controlled when a particular camera was actively recording.
During the recording of a programme, they sat in the control booth above the studio floor and decided when to switch between the — usually ''four'' – cameras that were being used to film an episode, according to the [[Director (crew)|director]]'s instructions. They were thus "live [[editor]]s", who controlled when a particular camera was actively recording.


They also were responsible for some [[visual effect]]s, such as the insertion of pre-recorded material [[playback|played back]] into a scene, and indeed the achievement of the original title sequence. Undoubtedly, however, their most important visual effect was that of [[regeneration]], which — as established by ''[[The Tenth Planet (TV story)|Tenth Planet]]'' vision mixer, [[Shirley Coward]] — was always achieved by some form of camera cross-fade.
They also were responsible for some [[visual effect]]s, such as the insertion of pre-recorded material [[playback|played back]] into a scene, and indeed the achievement of the original title sequence. Undoubtedly, however, their most important visual effect was that of [[regeneration]], which — as established by ''[[The Tenth Planet (TV story)|Tenth Planet]]'' vision mixer, [[Shirley Coward]] — was always achieved by some form of camera cross-fade.


Interviewed on ''[[The Sensorites (TV story)|The Sensorites]]'' [[DVD]] extra ''[[Vision On]]'', early [[William Hartnell|Hartnell]]-era vision mixer, [[Clive Doig]], had this to say about his job:
Interviewed on ''[[The Sensorites (TV story)|The Sensorites]]'' [[DVD]] extra ''[[Vision On]]'', early [[William Hartnell|Hartnell]]-era vision mixer, [[Clive Doig]], had this to say about his job:
{{quote|What I'm doing as a vision mixer is cutting to the camera against the dialogue of the [camera script that the [[director]] has prepared]."|[[Clive Doig]]}}
{{quote|What I'm doing as a vision mixer is cutting to the camera against the dialogue of the [camera script that the [[Director (crew)|director]] has prepared]."|[[Clive Doig]]}}


Because no mainstream [[DWU]] show after ''[[Survival (TV story)|Survival]]'' has been produced in a multi-camera environment, vision mixers essentially haven't been used since [[1989]]. Very brief exceptions occasionally crop up, however, as when characters are seen to be watching [[television]] programmes. The clearest examples of vision mixing in the [[BBC Wales]] era are perhaps [[Trisha Goddard]]'s scenes in ''[[Army of Ghosts (TV story)|Army of Ghosts]]''.
Because no mainstream [[DWU]] show after ''[[Survival (TV story)|Survival]]'' has been produced in a multi-camera environment, vision mixers essentially haven't been used since [[1989]]. Very brief exceptions occasionally crop up, however, as when characters are seen to be watching [[television]] programmes. The clearest examples of vision mixing in the [[BBC Wales]] era are perhaps [[Trisha Goddard]]'s scenes in ''[[Army of Ghosts (TV story)|Army of Ghosts]]''.


Although ''Survival'' was the final story of the regular run of ''Doctor Who'' to employ a vision mixer throughout its production, the last BBC-licensed story to use vision mixing was ''[[The Curse of Fatal Death]]''. It in fact parodied the work of vision mixers in the original series by showing how quick cutting between cameras created the "endless corridors" down which [[the Doctor]] and his [[companion]] typically ran.
Although ''Survival'' was the final story of the regular run of ''Doctor Who'' to employ a vision mixer throughout its production, the last BBC-licensed story to use vision mixing was ''[[The Curse of Fatal Death (TV story)|The Curse of Fatal Death]]''. It in fact parodied the work of vision mixers in the original series by showing how quick cutting between cameras created the "endless corridors" down which [[the Doctor]] and his [[companion]] typically ran.


== List of vision mixers ==
== List of vision mixers ==
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* ''[[The Space Museum (TV story)|The Space Museum]]'' - Clive Doig ([[INFO]]: ''The Space Museum'')
* ''[[The Space Museum (TV story)|The Space Museum]]'' - Clive Doig ([[INFO]]: ''The Space Museum'')
* ''[[The Chase (TV story)|The Chase]]'' - Clive Doig and John Lopes ([[INFO]]: ''The Chase'')
* ''[[The Chase (TV story)|The Chase]]'' - Clive Doig and John Lopes ([[INFO]]: ''The Chase'')
* ''[[The Time Meddler (TV story)|The Time Meddler]]'' - John Lopes and [[Dave Hanks]] ([[INFO]]: ''The Time Meddler'')


==== Season 3 ====
==== Season 3 ====
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|Basic description of job, as it existed in the [[Verity Lambert|Lambert]] era
|Basic description of job, as it existed in the [[Verity Lambert|Lambert]] era
|-
|-
|''[[A View from the Gallery]]''
|''[[A View from the Gallery (documentary)|A View from the Gallery]]''
|''[[Day of the Daleks (TV story)|Day of the Daleks]]'' (2011 DVD release)
|''[[Day of the Daleks (TV story)|Day of the Daleks]]'' (2011 DVD release)
|[[Barry Letts]] and [[Mike Catherwood]]
|[[Barry Letts]] and [[Mike Catherwood]]
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[[Category:Production team titles]]
[[Category:Production team titles]]
[[Category:Vision mixing]]
[[Category:Vision mixing]]
[[Category:Vision mixers| ]]
[[Category:Vision mixers| *]]

Latest revision as of 17:36, 21 October 2024

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YouTube
Clive Doig, Doctor Who's first vision mixer, explains his job.

Vision mixers were regular members of the production crew of the 1963 version of Doctor Who.

During the recording of a programme, they sat in the control booth above the studio floor and decided when to switch between the — usually four – cameras that were being used to film an episode, according to the director's instructions. They were thus "live editors", who controlled when a particular camera was actively recording.

They also were responsible for some visual effects, such as the insertion of pre-recorded material played back into a scene, and indeed the achievement of the original title sequence. Undoubtedly, however, their most important visual effect was that of regeneration, which — as established by Tenth Planet vision mixer, Shirley Coward — was always achieved by some form of camera cross-fade.

Interviewed on The Sensorites DVD extra Vision On, early Hartnell-era vision mixer, Clive Doig, had this to say about his job:

What I'm doing as a vision mixer is cutting to the camera against the dialogue of the [camera script that the director has prepared]."Clive Doig

Because no mainstream DWU show after Survival has been produced in a multi-camera environment, vision mixers essentially haven't been used since 1989. Very brief exceptions occasionally crop up, however, as when characters are seen to be watching television programmes. The clearest examples of vision mixing in the BBC Wales era are perhaps Trisha Goddard's scenes in Army of Ghosts.

Although Survival was the final story of the regular run of Doctor Who to employ a vision mixer throughout its production, the last BBC-licensed story to use vision mixing was The Curse of Fatal Death. It in fact parodied the work of vision mixers in the original series by showing how quick cutting between cameras created the "endless corridors" down which the Doctor and his companion typically ran.

List of vision mixers[[edit] | [edit source]]

Television[[edit] | [edit source]]

Season 1[[edit] | [edit source]]

Season 2[[edit] | [edit source]]

Season 3[[edit] | [edit source]]

Season 4[[edit] | [edit source]]

Season 6[[edit] | [edit source]]

Season 7[[edit] | [edit source]]

Season 8[[edit] | [edit source]]

Season 9[[edit] | [edit source]]

Season 10[[edit] | [edit source]]

Season 11[[edit] | [edit source]]

Season 12[[edit] | [edit source]]

Season 13[[edit] | [edit source]]

Season 14[[edit] | [edit source]]

Season 15[[edit] | [edit source]]

Season 16[[edit] | [edit source]]

Season 17[[edit] | [edit source]]

Season 18[[edit] | [edit source]]

Season 19[[edit] | [edit source]]

Season 20[[edit] | [edit source]]

Season 21[[edit] | [edit source]]

Season 22[[edit] | [edit source]]

Season 23[[edit] | [edit source]]

Season 24[[edit] | [edit source]]

Season 25[[edit] | [edit source]]

Season 26[[edit] | [edit source]]

Home video[[edit] | [edit source]]

Season 22[[edit] | [edit source]]

Documentaries about vision mixing[[edit] | [edit source]]

Vision mixing has been the primary focus of two documentaries in the classic Doctor Who DVD range.

Documentary Released on Interviewees Subject
Vision On The Sensorites Clive Doig Basic description of job, as it existed in the Lambert era
A View from the Gallery Day of the Daleks (2011 DVD release) Barry Letts and Mike Catherwood Relationship between the director and the vision mixer, primarily as experienced in the Letts era

Footnotes[[edit] | [edit source]]

  1. ↑ TCH 42
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