three unoccupied casings from the film Dr. Who and the Daleks (1965). Martin contacted the film's writer and producer Milton Subotsky and asked to borrow some of the casings built for the movie, which had recently completed production; Subotsky offered Martin eight Dalek props, but as they were noticeably different from their television counterparts, three were used in the background to populate the shots. The interior TARDIS rooms were designed from material originally designed by Cusick for The Edge of Destruction (1964), with equipment bay elements from The Web Planet. The Time-Space Visualiser was constructed by Shawcraft Models and used a television monitor, on which the footage was played. The TARDIS control room set was used for the Visualiser sequence, though the console was not used due to size. The first episode marks the first time in Doctor Who that the TARDIS was seen in flight; the effect was achieved by mixing a kaleidoscope shot of stars with a shot of a two-inch TARDIS model. The Mire Beast costume, worn by Jack Pitt, was constructed by freelance specialist props team, father and son John and Jack Lovell; John researched similar creatures at the Natural History Museum, which led to the final orange costume made of sheet rubber. The Lovells also designed the rubber Fungoid costumes, which were nicknamed Fungoid Fred, Mushroom Malone, and Toadstool Taffy. The establishing shot of the Aridian landscape was a photograph of the Kalahari Desert in Bechuanaland from Paul Popper Ltd, while the shot of Mechanus was a photograph of an Amazonian jungle from Fox Photos. The food being eaten by Barbara and Vicki in the third episode were Mars bars, twelve of which were purchased for production. The set for the ship in the third episode was large, with several levels. One of Martin's favourite parts of the serial, the ship used much of the budget. The name plate of the ship was erroneously painted as Marie Celeste before being corrected to Mary Celeste. Lambert was unsatisfied with the set of the Empire State Building; she complained to the design department's Barry Learoyd on 26 May, and wrote "even bearing in mind the necessary economy because of the budget, this is pretty poor by any standards". Learoyd responded on 9 June, noting that the set looked satisfactory in the transmission and clarifying that she had likely seen the set before its final tidying; Lambert conceded,