The miniatures were supervised by Byron Haskin who was the head of Warner Bros special effects dapartment at the time.
I found the entire film on Internet Archive.org.
Internet Archive Roaring Twenties 1939
The technique of miniature ship visual effects.
Showing posts with label Byron haskin. Show all posts
Showing posts with label Byron haskin. Show all posts
Friday, 3 January 2020
The Roaring Twenties 1939
This James Cagney and Humphrey Bogart prohibition era gangster film features a short model ship sequence. The shots depict a freighter being intercepted by a Coast Guard launch. There is also an establishing shot of a miniature lighthouse.
The miniatures were supervised by Byron Haskin who was the head of Warner Bros special effects dapartment at the time.
I found the entire film on Internet Archive.org.
Internet Archive Roaring Twenties 1939
The miniatures were supervised by Byron Haskin who was the head of Warner Bros special effects dapartment at the time.
I found the entire film on Internet Archive.org.
Internet Archive Roaring Twenties 1939
Thursday, 13 December 2018
The Sea Hawk 1940
Generally regarded as the epitome of the swashbuckling genre, The Sea Hawk's special effects were nominated for an Academy award in 1940.
The Special effects were supervised by Byron Haskin and photographed H. F. (Fred) Koenekamp.
Byron Haskin described Fred Koenekamp as "the greatest trick man who ever lived." Haskin also said that each miniature ship, built to 1/12th scale, concealed an operator who, from a prone position would guide the rudder and work the little inboard motors and the tiny Cannons.
I assume the little inboard motors would be referring to the motorised rowing mechanism of the Spanish Galley. The models were generally towed through the water by an underwater cable.
The ships were shot on the Warner Brothers backlot lake with the cameras mounted low in glass fronted boxes and shooting at around 70 frames per second. The bow waves were enhanced by a underwater nozzle pumping water up at an angle.
The models are very finely detailed with particularly good looking sails, and the camera gets pretty close in some shots.
A section of the black and white film, namely when the story moves to Panama, was tinted a sepia colour. It was supposed to represent the unrelenting heat and humidity of the place as experienced by the characters.
Sources:
American Cinematographer Magazine August 1996, Part 2 of a Sea hawk article by Rudi Behlmer.
A directors Guild of America Oral History - Byron Haskin Interviewed by Joe Adamson, published by the Scarecrow Press 1984.
The Special effects were supervised by Byron Haskin and photographed H. F. (Fred) Koenekamp.
Byron Haskin described Fred Koenekamp as "the greatest trick man who ever lived." Haskin also said that each miniature ship, built to 1/12th scale, concealed an operator who, from a prone position would guide the rudder and work the little inboard motors and the tiny Cannons.
I assume the little inboard motors would be referring to the motorised rowing mechanism of the Spanish Galley. The models were generally towed through the water by an underwater cable.
The ships were shot on the Warner Brothers backlot lake with the cameras mounted low in glass fronted boxes and shooting at around 70 frames per second. The bow waves were enhanced by a underwater nozzle pumping water up at an angle.
The models are very finely detailed with particularly good looking sails, and the camera gets pretty close in some shots.
A section of the black and white film, namely when the story moves to Panama, was tinted a sepia colour. It was supposed to represent the unrelenting heat and humidity of the place as experienced by the characters.
 |
| Note bendy rubber armed miniature figure posed atop the yard. |
Sources:
American Cinematographer Magazine August 1996, Part 2 of a Sea hawk article by Rudi Behlmer.
A directors Guild of America Oral History - Byron Haskin Interviewed by Joe Adamson, published by the Scarecrow Press 1984.
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