0900

I’m at the office for perhaps the fifth time in six months, because I’ve been in Cardiff regularly shooting Sherlock. There, a day shoot starts at 8am, and we could be on set until 7pm – if we’re doing nights, 7pm until 5am. Wherever I am, much of what I’m doing is making sure that we deliver the programme that we promised, and fixing whatever gets out of kilter.

1030

At Air Studios in Hampstead for the recording of the strings for the Sherlock soundtrack. It’s lovely; you’ve already worked with the composers on the detail – we want to feel this here, it’s exciting in this bit – so by the time you get to recording it’s a real treat. Although the musicians do talk in a language I don’t understand!

1330

In London to sign off CGI for Sherlock. We may need to add buildings in a scene, or put in the texting effects that appear in the show. (Can I read it? Is it spelt correctly? You’d be surprised how often things aren’t.) All of that can take up to 50 hours in total per show.

1500

Next, a “grader”. The director and I will look at how to balance the colour, because you may shoot two parts of a scene on different days, or simply want to add an element to bring out a mood. What you can do now with the picture and colour is brilliant.

1600

I need to make time to look at showreels, to consider new directors or editors. You want to get the best people, but it’s also like matchmaking. You need to put people together who can sit in a small room alone for hours and become firm friends.

1900

My husband, writer Steven Moffat (pictured above, with Vertue), and I are out a lot because actors, writers or agents want us to see work, or there is someone in town we need to meet. A CV is one thing, but meeting someone tells you if you will really enjoy working with that person. And I only want to work with people I like, because life is too short.