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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's very neat". You know the kind of thing, clever framing, timing, etc. Here's just a few which stood out for me...
2/5. Clever example of 'blocking' (is that the word?) in this lovely scene, as we cut to Sarah'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 'big screen' 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's never empty"
![3/5. Camfield was always capable of bringing 'big screen' 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's never empty"](https://pbs.twimg.com/media/EWSLMPgVcAAq-sk.png "3/5. Camfield was always capable of bringing 'big screen' 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's never empty\"")
4/5. Perhaps not everyone's 'standout,' but in The Hand of Fear I'm really taken with Lennie Mayne's decision to show the group's journey back to the Tardis in extreme long shot. It's a bold and unusual decision, but beautifully realised.
5/5. I could go on (it'd be a long thread), but I'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..
Neat, neat, neat..
