The original eight-foot Red Dwarf model had been wrecked when it fell off a shelf, so when the ship had to be blown up for series V a new, smaller model was constructed. Several new travelling shots of the five-foot miniature were filmed before it was packed with explosive charges and blown to smithereens in seconds - the high-speed film was slowed down to give the effect of a massive explosion and drifting wreckage.

Matting, as ever, was used to place Red Dwarf next to Starbug, the Holoship and, for Demons and Angels, itself. Starbug was given an underwater make-over - complete with the first glimpse of backward-pointing legs, also used with Terrorform's caterpillar tracks - to land beside the impressive Esperanto model, and a snow-covered miniature set was constructed for Dr Lanstrom's research facility - complete with Starbug's 'scouter'.

The Holoship miniature, meanwhile, was a beautiful - and transparent - perspex model built by Paul McGuinness. Sadly, a number of shots of it had to be excised to make the episode fit its time slot.

Also unseen was the model despair squid which, though it was made and filmed, was removed in the edit in favour of a shadow-like video effect. Similarly, when the Master was built for Terrorform, it was decided that the beast was more scary as a shadow, a hand or a foot, and so the model itself was only given brief glimpses by the camera.

The viewing window of Quarantine was nothing more than a window with darkness behind. Because of this, Rimmer could sit behind it, unlit, and only appear when his lamp was switched on. More physical effects came in the form of Kryten's animatronic rogue hand, but there was nothing state-of-the-art about the AR masks in Back to Reality.

When the script called for the masks to raise up automatically, they were pulled up on wires by Bill Pearson, who was hidden inside the central column during the shoot. This, and the belt-driven mind patch scanner powered by an ordinary hand drill, explains why Red Dwarf FX technicians coined the term 'handomatic'.

Still, the old techniques are the best, and once again split screens were the order of the day. Doubles for the cast were used, but a great deal of shots in Demons and Angels were created with the by-now traditional locked-off camera and split screen. (Though note how the crew are split so that rarely do two versions of the same character go off together.)

Craig Charles did his bluescreen bit to roll on the floor in front of himself, the video effects people added a holowhip and Holoship beaming missile, and what would Red Dwarf be if there weren't just a few more bullet hits and explosions? (One of which, on Robert's leg, ended up facing sideways rather forwards - causing a certain amount of pain for the already suffering actor.)

But the pain on Dwarf is always shared around, and Craig Charles copped a whack in the back of the head when Robert punched through a wall as the evil Kryten. And yes, there was that fake spider built for Craig's consumption. It still tasted pretty awful.