American Cinematographer - March 2015 - 55

the fire effects], but as a previous Doctor
Who director said, 'It's television, not
telesound!'"
Elsewhere in the episode, Taylor
explains, "the Doctor discovers a tower
block full of skeletons, each one in its
own tank full of fluid that we later realize is 'dark water.' The water eventually
drains from the tanks, and as the skeletons come into contact with the air, they
regenerate into Cybermen. All very
terrifying, scary and wonderful!"
Ten tanks, each measuring
4'x4'x6', appear in the scene. For logistical reasons, as well as the safety of the
actors in the tanks, the production
decided early on not to fill the tanks
with water, and so Taylor worked with
the art department to create a convincing dry-for-wet effect. The solution
involved a coat of sea-blue paint on the
side walls of each tank, and a wrinklefree opaque white silk stretched across
the back to create "an illusion of emptiness behind the skeleton, so nobody had
any idea of the depth of the tank,"
Taylor notes. "It seemingly went on into
infinity."
When the tanks were meant to
appear full, Taylor lit the silk with a 1K
Fresnel gelled with Full CTB. Then,
"when they were empty, I was able to
alter the color to match the side walls, to
sustain the illusion of the change in clarity. [When the tanks were full] I also
covered the front glass panel with Lee
Frost to degrade the apparent sharpness
of the skeletons and give the impression
they were submerged in fluid." Taylor lit
each skeleton from above with a 100watt Dedolight focused on its skull. The
last ingredient of the dry-for-wet recipe
was an Acme LED Wave DMX water
projector, set to a very slow speed.
Achieving the desired effect "took
two 12-hour days of testing, much
debating and a lot of research," Taylor
notes. "The dark water was the basis of
the whole episode, so it was vitally
important for [viewers] to believe what
they were watching." The final onscreen
effect of water emptying from the tanks
was created digitally, "much to my relief
and disappointment," says a somewhat



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American Cinematographer - March 2015

Table of Contents for the Digital Edition of American Cinematographer - March 2015

Contents
American Cinematographer - March 2015 - Cover1
American Cinematographer - March 2015 - Cover2
American Cinematographer - March 2015 - 1
American Cinematographer - March 2015 - 2
American Cinematographer - March 2015 - Contents
American Cinematographer - March 2015 - 4
American Cinematographer - March 2015 - 5
American Cinematographer - March 2015 - 6
American Cinematographer - March 2015 - 7
American Cinematographer - March 2015 - 8
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American Cinematographer - March 2015 - 28
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American Cinematographer - March 2015 - 30
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American Cinematographer - March 2015 - 37
American Cinematographer - March 2015 - 38
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American Cinematographer - March 2015 - 40
American Cinematographer - March 2015 - 41
American Cinematographer - March 2015 - 42
American Cinematographer - March 2015 - 43
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American Cinematographer - March 2015 - 45
American Cinematographer - March 2015 - 46
American Cinematographer - March 2015 - 47
American Cinematographer - March 2015 - 48
American Cinematographer - March 2015 - 49
American Cinematographer - March 2015 - 50
American Cinematographer - March 2015 - 51
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American Cinematographer - March 2015 - 53
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American Cinematographer - March 2015 - Cover3
American Cinematographer - March 2015 - Cover4
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