The Making of The Daleks' Master Plan
By Derek Handley & Dean Rose

 
 

Derek Handley Talks us Through the Making of...
Episode 2 - Day of Armageddon

 

 

 

 

This was the first episode to feature the alien delegates. Fortunately most of these are the same characters as seen in the pictures from Mission to the Unknown, so I could use pictures of them from there. However, two of the most prominent delegates seen in Master Plan were not in Mission Zephon and Celation.

There is a single picture of Zephon from episode three, but without his hooded cloak, which he wore through most of the second episode. For the shots of Zephon with cloak I dug out an old 'Hieronymous' costume and took various shots of myself and Dean modelling Zephon. His seaweed like hands were then cut and pasted from the existing picture of him onto the new pictures.

I had one quite poor quality picture of Celation to use, which pixellated on anything closer than a long shot. Not really good enough. Once again Stuart came up trumps on this one. He modelled a CGI figure in Poser at a variety of angles, but limitations in the software meant that he couldn't get a very good likeness to the actor's face or head shape. I found that the actor, Terence Woodfield, appeared again just a few stories later in The Ark. He was strangely very recognisable from the picture of Celation! Using screen grabs from this story I managed to graft his face onto Stuart's CGI model in Photoshop and built up the back of his bald head to fit the outline in the screen grabs. It took quite some time to recreate the make up effects applied to him for each angle used.

There are two set design pictures of the Dalek conference room that have often been printed. These are relatively clear as long shots, but I needed to be able to zoom in to individual chairs. The printed pictures originate from BBC design photos copied by Designer Ray Cusick. Even large prints direct from Ray's 35mm negative didn't give very satisfactory enlargements as the film grain was starting to show. I was eventually able to track down the original 2.25" design negatives for the set, which are now held by a private collector, and obtain prints from these, which gave the level of detail needed.

Several high-resolution set design pictures were available for Chen's ship The Spar, and screen grabs from the existing clips and publicity photos from episodes three and four made the final scenes here relatively easy.