American cinematographer (Jan-Dec 1952)

EXAMPLE OF TODAY'S best miniature work is to be seen in MetroGoldwyn-Mayer's current Technicolor production "Plymouth Adventure," 25% ot which employed miniature sets and props. Above are two views ot miniature sets during construction stage. Circled are three workmen on set, which shows relative size. Sky is painted backing and the "sea" is but 36 inches deep. Both sets were erected on same site. and storms — the latter manufactured by studio technicians using tons of water and wind machines. The building of miniatures and minia¬ ture sets is today a highly specialized art. It is usually carried on by a separate and entirely self-contained department, the head of which works in close contact with the studio’s supervising art director, and with the special photography or pro¬ cess department whose personnel photo¬ graph the completed miniature sets. At Metro-Goldwyn-Mayer studios, Buddy Gillespie heads up the Special Effects department. Head of the Miniature de¬ partment is Don Jahraus; and Carroll Shepphird handles process. Together, these three men plan and direct or super¬ vise the execution of all miniature work at MGM. No less important is Max Fabian, A.S.C., who directs the photo¬ graphy of all miniatures and who fre¬ quently is assisted by Harold Lipstein, A.S.C., in this specializzed work. The success of miniatures in motion pictures depends upon a happy combina¬ tion of photographic, artistic, and me¬ chanical effects, and since all of these factors enter into the design of every miniature, the miniature technician must have extensive first-hand understanding of all three. He must be sufficiently an artist to make his miniatures harmonize with the full-scale settings of the picture, sufficiently a photographer to be able to design his miniatures for the camera, and enough of an engineer to be able to design efficient, workable miniature properties. Each individual miniature setting is a separate problem, according to Buddy Gillespie. “There can be no blanket rules laid down for their construction,” he said. “Even the size and scale will vary from miniature to miniature. One cannot merely say, ‘all miniatures should be made to such and such a scale.’ Instead size and scale must be determined for each individual miniature project, to afford the exact effect desired with the most workable size.” Cost is. by no means relative to size. As a rule, large size miniatures are less costly to construct, and they give the cameraman greater latitude in which to work. Therefore, the designer, in de¬ termining the scale and size to be follow¬ ed, must consider the optical possibilities of the equipment used, particularly lensangles and depth of focus. Depth of focus is a highly important factor in shortrange miniature work. The miniatures of the Mayflower and the Speedwell were built in two different scales. The Mayflower was constructed on a scale of 3 inches to one foot, whereas the Speedwell was made just half the size — on a scale of 1T/2 inches to one foot. The boats were so construct¬ ed that slight changes could be made in the rigging and in some detail of the Speedwell to give it the appearance of the Mayflower for doubling in the storm scenes. By using the smaller ship for (Continued on Page 400) THREE MINIATURE scenes which were all staged on the same set for MGM's "Plymouth Adventure." Note the realism obtained in the sea as the scene changes from the tranquil harbor (left) to mid ocean (center) and finally to the big storm at sea (right). The achievement was the result of careful calculation of camera speed and rate of movement of miniatures, and de¬ velopment of tricky apparatus to create realistic turbulence of water. Scenes depicting climax of storm, incidentally, are of Academy Award calibre, were photographed by Max Fabian, A.S.C. September, 1952 American Cinematographer 387