22 hours till deadline
Everything has had a couple of coats of paint by now and with less than 24 hours to go we’re waiting on it drying sufficiently to get to work with the hot glue gun during the day on Friday when I really ought to be working.
Meanwhile it’s coming up to midnight and I can get back to the central column. Aside from some Superglue related excess and forgetting to put the thinner bit on before the bit which is slightly wider first time round, this goes surprisingly well, until in a 01:00 attempt to finish it in time for shooting one of the horizontal rods for the topmost black sail gets stuck partway through it’s fixing hole. Either the hole shrunk or the rod expanded but no amount of tapping is shifting it one way or another until almost inevitably it snaps. Having used the excess rod elsewhere I having nothing to replace it with so the top two sails need to attach directly to the centre upright. Suddenly this console is referencing the Troughton era too with the dilapidated state of the central column.
48 hours till deadline
Two days before the whole thing is supposed to be in studio for filming some photos are finally e-mailed of the parts supplied by the contact at Rolls Royce.
Time for Plan C then.
Out with the hole cutter again and it need to be set to it’s maximum size because a few bits as possible can go on this panel as they’re now need to fill up space on Panel 6 as the phone idea has been dropped. I’ve asked the producer to have some Gallifrey style concentric circles printed up onto acetate for the navigation panel, but given that there’s little chance he’ll complete the request and certainly not get it to me soon enough, while I’m using the hole cutter I wonder if I can abuse it to do some engraving onto Perspex for me..? Takes two attempts and buckets of sweat as I get closer to doing the final circle in anticipation of causing it to crack but I get there eventually.
So we’ve got a McGann shelf, a Hartnell panel, a Smith panel, a Baker-T-ish panel and a Recall Indicator ala Davison. If I add some broken line detailing to my door control box it’s reminiscent of his era too. I guess I can cheat it and say the scanner animation I’ve done in After Effects is an Eccleston\Tennant nod and every flick switch is a tip of the hat to Pertwee so everything except the later Eighties console is represented in some small way, which is slightly fitting given the purpose of the film.
The weather hasn’t really improved and there’s been near constant rain so another slight problem is that I’m not really sure where all this is going to go to sit while it dries, certainly not outdoors on the lawn. In the end nobody gets a shower or come and go by the front door for the next two days as the bathroom floor and hallway are covered with bits of wood being painted and drying. At least there’s still the garden hut where the spray painting of the controls can all be done.
Going round the console I tackle a panel to make any additional bits required beyond those which were purchased. A wooden ball from the Art Store painted red will be the top of the door control with some dowel (left over from my Invasion Cyberman arm and leg rod build) for lever. By reusing the wooden circles cut out for the controls I can make a box for the lever too.
For the second panel I only have to trim some frosted plastic to shape and size to sit over the lights I plan to put in the centre to diffuse them. On the third, I have some pipe brass fittings to make a heavy-duty lever which can be masterfully thrown in the style of Peter Capaldi during his 50th anniversary cameo and the fourth panel is going to have those Rolls Royce parts if they ever turn up or the 11b console homage as mentioned.
For the fifth panel, my Hartnell Power side, I use the hole cutter on the styrene sheet to cut the circles to surround the half ping-pong balls. This goes quite well except that every second or third the blades seem to bite into the material at the end leaving a little “v” chunk out of the inner and outer circumference. Can’t really figure out why it happens to prevent it regardless of how many I cut. Again I can use previously cut wooden circles to make lever boxes. The original filming version had some decent knobs which I think were the caps from some sort of plastic water barrel and one of them looks not too far off the original dematerialization lever with some small wooden balls again for the Booster lever caps.
The sixth panel remains stubbornly empty both on the promise of those Rolls Royce parts freeing up the proposed switches and things from Panel 4(A) and the possibility that a telephone will need to be mounted on the console for one of the scenes. I’m told that “a big switch-y thing” has been provided by them with other parts coming on Wednesday. You know, “48 hours till deadline Wednesday” and that’s not even saying I’ll have them in hand. Still all those unique machined aluminium parts are going to be worth the headaches, right..?
6 Days till deadline
With five days left to go the wood is returned cut into trapezoids I begin to cut out the holes in the panels for the various controls.
It’s painfully slow going with my domestic cordless drill which is little more than a glorified electric screwdriver and the battery charge is lasting about 30 minutes for every five hours of charging. Once again I prevail on family to borrow a heavier duty drill (with multiple battery packs, praise Harry) enabling me to power through them (as well as accidentally cutting an extra hole by mistake) and let my other half begin painting them.
My preference here is to use a light grey, but the pedestal is already white and although I anticipate that it would cause less flare from the overhead studio lights, what do I know, I’m not the film and TV production graduate.
As well as the control surfaces the McGann shelves and the facing for them have also been cut to size and shape. There’s not much to do to these other than cut a hole in the centre of each facing strip where a Seal of Rassilon decal will sit, so I zoom through those too and leave them to be painted.