Portrait of Jennie 1948

 This film was suggested by a reader some time ago and I have finally got around to including it in a post. 

For a really in depth article on the visual effects of the film I recommend viewing NZ Pete's Matte Shot blog.  https://nzpetesmatteshot.blogspot.com/2011/05/portrait-of-jennie-clarence-slifer.html

The movie concludes with an impressive miniature storm sequence centered around a lighthouse with a miniature sailboat. Oddly, while the rest of the film is in black and white, this sequence is tinted a strange green colour. The closing sequence following the storm gets a sepia tint with a short shot of the portrait painting of the title in technicolor.

The miniature work is quite effectively shot by Paul Eagler under the supervision of Clarence Slifer. There is one shot consisting of a badly composited live action insert into a miniature storm tossed rock background that is not well matched.

Obvious live action insert matted into the miniature background. The shadow density in the live action does not remotely match the dark shadows on the miniature rocks.

One of the many excellent matte paintings seen throughout the film.

Ice Station Zebra 1968

Nominated for an Academy award for special effects in 1968.

The nuclear submarine miniature is modeled on a "Skate" class submarine, whereas surface shots used a Guppy 1A and IIA diesel electric submarines.
The submarine miniature shots are very effective with the ice sheet quite convincing. The model Russian Mig aircraft shots towards the end of the movie are less successful because the aircraft are too rigidly mounted with respect to each other and the camera.
What is interesting is that the backgrounds which look front projected are also reflected on the shiny silver finish of the miniature aircraft on all sides which suggests some special surrounding projection rig was employed. The detail on the aircraft miniatures is very good and some of the shots get close enough to see the miniature pilot.

There was apparently sufficient work to credit three visual effects supervisors, J. McMillan Johnson, Carroll L. Shepphird and Clarence Slifer.