Sailing ship Magnolia actually is only 23 feet long. Lee Zavitz, special-effects director, adjusts rigging from the deck. Line behind the sails is top of the painted backdrop.

chop on top of the water. This is created by wind machines that also fill the ship's sails and heel it over in the water. The wind machines also smooth out the crests of the swells so that- rebounds from the sides of the tank won't be apparent."
In the long run it is the cameraman who makes or breaks a miniature scene. Head cameraman for 80 Days is Lionel "Curley"

Ship appears to be full size in film. It is towed
past the camera by an underwater cable.

Lindon, who knows all the tricks in placing the camera so that a miniature looks perfect on the screen. Basically it is shooting from a low angle to get the proper perspective.

"Bug Eye" Lens

The Todd-AO (Todd-American Optical) process uses a 65-millimeter film in a camera fitted with a "bug eye" lens nine inches in diameter and of very short focal length. In the theater this film is projected on a wide, deeply curved screen without distortion. Oklahoma! was the first feature picture in which the process was used, and audiences were fascinated by the realism and third- dimensional effects that were achieved. The accompanying high-fidelity sound is projected from five or six loudspeakers placed above the screen.

World Adventure Story

Around the World in 80 Days tells the adventures of two travelers who hope to win a bet by traveling all the way around

Sailmobile appears in film. The sail was made of rigid plastic so sequence could be filmed even in a calm.
Popular Mechanics August, 1956
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Original material ©1956 Popular Mechanics Company
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