The film set during America's war of independence from England, features a model of an early submersible which deposits a charge on a British warship. The effects are competently staged though it may have been improved by a slight lowering of the height of the camera, so you look more up at the models rather than slightly down on them. One interesting feature to note is that the horizon is extended by painting the most distant sea on the scenic backing. You can sometimes make out the demarcation line between where the water and waves overflow the weir at the rear of the tank and the painted portion of the sea. It is readily apparent in the black and white still photo above where the still camera is relatively high up looking down on the model.
Sunday 17 February 2019
Mutiny 1952
The Special Photographic Effects are by Jack Cosgrove who's best model ship work can be found in Action in the North Atlantic 1943.
The film set during America's war of independence from England, features a model of an early submersible which deposits a charge on a British warship. The effects are competently staged though it may have been improved by a slight lowering of the height of the camera, so you look more up at the models rather than slightly down on them. One interesting feature to note is that the horizon is extended by painting the most distant sea on the scenic backing. You can sometimes make out the demarcation line between where the water and waves overflow the weir at the rear of the tank and the painted portion of the sea. It is readily apparent in the black and white still photo above where the still camera is relatively high up looking down on the model.
The film set during America's war of independence from England, features a model of an early submersible which deposits a charge on a British warship. The effects are competently staged though it may have been improved by a slight lowering of the height of the camera, so you look more up at the models rather than slightly down on them. One interesting feature to note is that the horizon is extended by painting the most distant sea on the scenic backing. You can sometimes make out the demarcation line between where the water and waves overflow the weir at the rear of the tank and the painted portion of the sea. It is readily apparent in the black and white still photo above where the still camera is relatively high up looking down on the model.
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