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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]]'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|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|Harnell]]-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|Harnell]]-era vision mixer, [[Clive Doig]], had this to say about his job: | ||