MttElby
Well-known member
Volpone said:That set construction model is very enlightening. I've done some theater and of course lived in the Real World (most of the time), but other than seeing some TV sets on a tour of the Warner Brothers studios decades ago, I don't have experience with TV sets. It's neat, how one side is open--the same side--on the sets. They don't need to spend money on a wall that would actually just get in the way and the way it's built it's fast and easy to move the camera to the next scene.
If you look at behind the scenes shots like this one...

... you can see how the realities of the large, cable-fed cameras played a part in set design. There's no following an actor through a doorway with one of those! Then there's the issue of the huge lighting rigs.
I assume that one corner cubby just gets redressed as a bedroom or a hallway or whatever they need for 90% of the shots of the TARDIS interior. Do your dialog shot and have the actors walk off out of frame down the "corridor," then set up and have them walk into frame with the set they just left now being the location they just got to.
They got increasingly cunning in how they re-used corridors from different directions, as time went on, with the Terminus corridor set being particularly clever, as it appears to be a completely different part of the TARDIS to what we normally see, but included within it is the normal console room door and corridor, not visible because of the camera angle chosen.
The invention of free-standing and easily re-positioned corridor columns for Castrovalva also made it easier to make the same corridor look different (although they could have tried harder to hide the console room door, which is a bit of a giveaway).



