1/5. Revisiting some old favourites from the classic series recently, and reflecting on those little directorial choices that often prompted me to think: "Ah, that& #39;s very neat". You know the kind of thing, clever framing, timing, etc. Here& #39;s just a few which stood out for me...

2/5. Clever example of & #39;blocking& #39; (is that the word?) in this lovely scene, as we cut to Sarah& #39;s appearance (initially in soft-focus) between an increasingly tense Dr John Smith and Professor Rubeish. Bromly then allows the camera to pull focus, drawing our attention to Sarah...

3/5. Camfield was always capable of bringing & #39;big screen& #39; spectacle to the 4:3 frame, but his subtle touches were always notable - including this perfectly timed cut to a mesmerising close-up of Baker delivering that fantastic line: "[The sea] may be calm, but it& #39;s never empty"

4/5. Perhaps not everyone& #39;s & #39;standout,& #39; but in The Hand of Fear I& #39;m really taken with Lennie Mayne& #39;s decision to show the group& #39;s journey back to the Tardis in extreme long shot. It& #39;s a bold and unusual decision, but beautifully realised.

5/5. I could go on (it& #39;d be a long thread), but I& #39;ll finish with some clever visual storytelling from Michael Briant & his crew. Yes, that gorgeous mineshaft shot, which pans & pulls focus from the spinning wheel to the Dr & the Brigadier racing to the rescue.
Neat, neat, neat..