Subsequent shots of the submarine going past the disabled ship were shot in the tank. When the damaged timbers of the ships hull fell down in the collision, on screen with the footage now printed upside down, they appeared to float up to the surface. Shots of the Nitrate ship being holed by the Nautilus's saw blade like protrusions, were filmed dry for wet upside down at high speed. The 11 foot Nautilus on the Lydecker Rig at the Disney tank. 6 other wires operated other functions on the model. The trolley could travel along the tracks and the wires could be raised and lowered to make the model travel and rise and fall. The rig consisted of a raised suspended trolley that ran along tracks with 4 main wires supporting the model below. It weighed more than 1000 pounds (454 kg).įor underwater sequences this model was shot both wet ( in a tank) and dry for wet ( in a smoky environment in the studio) hanging from a so called Lydecker rig, named for its designers and builders Howard and Theodore Lydecker, famous for the miniature work in all the Republic serials. The power to the propellers and internal lighting was provided by 5 car batteries. It appears only in very few scenes in the movie traveling underwater.Īn 11 foot model, properly proportioned, was constructed out of 3mm thick iron plates with detailing in brass. When more of these lenses became available this model was no longer needed. When the footage was projected through the anamorphic projection lens, the image would be stretched out to the correct proportions. When the film started production there was only one of these lenses in existence, so to enable the model work to progress this shortened model was filmed with a normal spherical lens. One of the first models built for the film was a "squeezed" Nautilus model which had its length shortened by about half proportionally to match the squeeze ratio of the Cinemascope anamorphic lens. Probably the most recognised submarine shape ever, fictional or otherwise, was the Nautilus designed for Disney's 20 000 Under the Sea by Harper Goff. Won oscar for best Special Effects (1955).
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