Three weeks before production the director and the designer meet to plan out the set. (The picture shows the designer Lewis Logan, his assistant, and director Geoffrey Stephenson.) They break down the script into sets and talk over how the production is to be laid out in the studio, allowing the maximum room for cameras and sound booms. A rough plan is prepared and after further discussions a detailed plan is drawn up incorporating the designer’s and director’s requirements.
The production assistant meanwhile sends information to wardrobe and make-up and details of technical requirements to the relevant ATV departments. The director is at the same time preparing his camera script, choosing the background music and sound effects. The sound department may be asked to prepare special recordings such as an operating theatre or the working of an iron lung.
In the Studio Facilities building at ATV’s £4 million Elstree Studio Centre a multitude of activities begin. In the construction workshops any sets which are not available from the 4,500 pieces of stock scenery are built, and the entire set as it will ultimately appear in the studio is assembled and completed. Any props not available from the 7,000 in stock are hired, bought or made.
“My Society and indeed the whole accident prevention movement has been greatly impressed by the subtle references to the need for accident prevention in the home in Emergency—Ward 10”.