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Some great camera tricks

ZapBrannigan

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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.
 
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.
 
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.
I'm sure it's a YMMV. I can't ever seem to make my brain interpret that horizontal piece as something in the scene. Even without the hair being in front of [oops behind] it, I just can't visualize what it connects to in the "real" transporter room. I actually wish I could unsee it now.
 
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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.
I have watched this episode countless times and never noticed this. So yes, I agree with you that they pulled it off nearly perfectly.
 
I'm pretty sure the ceiling of the TMP bridge set was actually real. The same was true of the Enterprise-D bridge set.

View attachment 51244
Well, now I'm surprised to have been a dumb kid who was right all along. They didn't outsmart me with a miniature ceiling, they outsmarted themselves with overspending. The budget on TMP inflated harmfully because so much was wasted.

What's worse, the TMP bridge they came up with isn't even beautiful. It's all bland and gray, and I dislike how the fixtures are shaped. Look how dashing the TV bridge was:


This still frame, with its angular shapes and the contrast of red highlights against the blacks, has more drama and techno-glamour than the whole movie did ten years later.
 
I'm sure it's a YMMV. I can't ever seem to make my brain interpret that horizontal piece as something in the scene. Even without the hair being in front of it, I just can't visualize what it connects to in the "real" transporter room. I actually wish I could unsee it now.
You're supposed to think the horizontal beam at the top of Nimoy's head is higher up and well behind him. And behind that beam, the Transporter room has a complicated "machine room" ceiling with nooks and compartments that are just out of view.
 
Well, now I'm surprised to have been a dumb kid who was right all along. They didn't outsmart me with a miniature ceiling, they outsmarted themselves with overspending. The budget on TMP inflated harmfully because so much was wasted.
That ceiling wasn't very expensive in the grand scheme of things, and it gave them a lot of latitude in filming angles that a "topless" set wouldn't have permitted, which was important for a film that spends so much of its running time in a single set.
 
That ceiling wasn't very expensive in the grand scheme of things, and it gave them a lot of latitude in filming angles that a "topless" set wouldn't have permitted, which was important for a film that spends so much of its running time in a single set.
Huh. The circular ceiling with radial beams reminds me of Lost in Space. The Jupiter 2's upper deck had a less elaborate, more skeletal version in the first year. These overhead beams divided the J2 into eight pie wedges, through which the set had to be lit.

This made lighting it more difficult and time-consuming, and they got rid of that faux-ceiling rig for the second season. So I still wonder if TMP would have saved both time and money by leaving the bridge open, and doing one or two fancy shots with a miniature ceiling in front of the camera.
 
Space: 1999 sidestepped the whole problem by having walls and ceilings that lit up with a diffuse light. Sometimes the illumination changed color, the way the Enterprise was lit with colors and cucoloris. However, there were cases in 1999 when conventional lighting was used. There's one episode, can't remember exactly which one, where a ceiling panel has been lifted away for a spotlight. It was a scene in the medical center, and the gaffe is seen at the very top of the frame, which would have been masked by "overscan" in the time it was originally broadcast.

Matte painted ceilings were not uncommon in movies in the pre-digital era.

I think "The Enemy Within" used the shuttle bay roof for engineering in an upward-looking shot.
EDIT: Or perhaps it would be more accurate to say engineering had a ceiling that later was used for the shuttle bay, as "The Enemy Within" did not have shuttles. (Or the script would have used one.)

 
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Huh. The circular ceiling with radial beams reminds me of Lost in Space. The Jupiter 2's upper deck had a less elaborate, more skeletal version in the first year. These overhead beams divided the J2 into eight pie wedges, through which the set had to be lit.

This made lighting it more difficult and time-consuming, and they got rid of that faux-ceiling rig for the second season. So I still wonder if TMP would have saved both time and money by leaving the bridge open, and doing one or two fancy shots with a miniature ceiling in front of the camera.
IIRC the radial beams were wild and could be lifted out. The only fixed part was over the command chair and the helm with the "artificial horizon" dome.
 
You're supposed to think the horizontal beam at the top of Nimoy's head is higher up and well behind him. And behind that beam, the Transporter room has a complicated "machine room" ceiling with nooks and compartments that are just out of view.
IOdYYyv.jpeg

Wow, in a bizarre coincidence as I was doing some other research today, I stumbled onto a behind-the-scenes clapper-board shot of this very scene.

Sadly it's very magenta'd by the ravages of time, but you can see the full (uncropped) version at http://www.startrekpropauthority.com/2008/04/some-rare-tos-behind-scenes-photos.html
 
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I think "The Enemy Within" used the shuttle bay roof for engineering in an upward-looking shot.
EDIT: Or perhaps it would be more accurate to say engineering had a ceiling that later was used for the shuttle bay, as "The Enemy Within" did not have shuttles. (Or the script would have used one.)

bH3TDHq.jpeg


Yeah, I believe this was straight-up just the engineering ceiling. I don't think I ever saw a ceiling in the hangar deck that wasn't either a model shot or later TOS-R CGI.

This is a crop of an image that you can see the rest of at http://www.startrekpropauthority.com/2012/03/rare-tos-behind-scenes-photos-part-xi.html
 
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