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Some great camera tricks

ZapBrannigan

Rear Admiral
Rear Admiral
There's an episode of Bewitched where Sam and Darrin are on a sidewalk in Manhattan (outside McMann & Tate), and you can see the Santa Monica Mountains in the distance. I think it was decades (and stills online) before anybody noticed. You were looking at Elizabeth Montgomery's face, and nothing else mattered. She was the special visual effect.

Westerns apparently had the opposite problem: they needed a mountain and there wasn't one, so they built it from scratch. Bonanza shot there:

On Star Trek when the view revealed too much, they stuck an obstruction in front of the camera. "Arena" probably had telephone poles or some Earthly building out beyond the location set:

"Metamorphosis" had studio lights above where the cyclorama ended:

Both of those solutions are ugly. But it's great when they covered the sound stage with a gorgeous matte painting:


One thing they never did was a neat trick where a miniature set is put right in front of the camera, and the more-distant actors are visible through an opening in the miniature, so it looks like they are inside a giant, elaborate sci-fi set. It can look more real than a painting. I wish Star Trek or Lost in Space had done that at least once. I can't remember what movie did it, looking down a seemingly giant sci-fi hallway toward the actors. Probably a James Cameron picture.
 
One thing they never did was a neat trick where a miniature set is put right in front of the camera, and the more-distant actors are visible through an opening in the miniature, so it looks like they are inside a giant, elaborate sci-fi set. It can look more real than a painting. I wish Star Trek or Lost in Space had done that at least once. I can't remember what movie did it, looking down a seemingly giant sci-fi hallway toward the actors. Probably a James Cameron picture.

IIRC, the Starfleet Academy atrium set in The Wrath of Khan was a foreground miniature.
 
IIRC, the Starfleet Academy atrium set in The Wrath of Khan was a foreground miniature.
Yes, that's a foreground miniature aka a "cutting piece" built by Mike Minor, who did the same thing for Vulcan in TMP, but that one was largely obliterated by the matte work in both versions of the film.
 
On Star Trek when the view revealed too much, they stuck an obstruction in front of the camera.
Here are a couple of shipboard instances of "hanging obstruction" (presumably hiding stage lights) in The Mark of Gideon and The Cloud Minders that also could be called ugly, or at least that made no sense relative to the ship's implied in-universe geometries.

tN0QTAp.jpeg
E1YiXaZ.jpeg

(Images sourced from TrekCore.)
 
Here are a couple of shipboard instances of "hanging obstruction" (presumably hiding stage lights) in The Mark of Gideon and The Cloud Minders that also could be called ugly, or at least that made no sense relative to the ship's implied in-universe geometries.

tN0QTAp.jpeg
E1YiXaZ.jpeg

(Images sourced from TrekCore.)
I forgot about those, thanks. But I think the Transporter room shot is nearly perfect. Nimoy's head edged under it, but you'll only notice when studying the stills. To me it comfortably passes as a sci-fi techno ceiling.

Edit: I was always dazzled by the amount of money they spent building a ceiling for the bridge in TMP. Now it seems I was naïve:
 
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I think the original form of the effect was called the Schüfftan shot, used in Metropolis. A mirror was placed in front of the camera, and a portion of the silvering was cleared away. A miniature, reflected in the mirror, and live action, visible through the hole in the silvering, thus combined the two in the same manner as a matte painting. Simply hanging the model in the foreground of the shot would be simpler, like the Starfleet Academy shot mentioned above, although perhaps the Schüfftan process afforded better depth-of-field matching with the older film stocks.

One example of a model in the foreground that looks like a structure in the distance appeared in the 1993 TV series Time Trax in the episode "Two Beans In A Wheel." Two cars are driving around a curving road towards a hill in the distance with Castle Corbenic on top gleaming in the sun. The castle and a portion of the hill are a scale model suspended in front of the camera from a support off to one side of the frame. The mundane nature of the shot made it look more realistic—it was not a Castle on a Hill, but a castle on a hill.
 
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