MovieChat Forums > Ben-Hur A Tale of the Christ (1927) Discussion > Did they really build sets that big in t...

Did they really build sets that big in those days?


The chariot race scene alone was tremendous, even for today.

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Well, yes and no.

The lower half of that set was indeed constructed full-size, but the upper levels employed what were called "hanging miniatures."

It's difficult to describe without visual aids, but the way they worked was that a reduced-scale model of what would have been the upper half of the set was suspended by wires close to the camera, between it and the full-size set, with everything lined up perfectly for the lens so that they matched seamlessly on film.

When shooting exteriors, one advantage this method had over "glass shots," another common device of the day (wherein the camera was aimed through a pane of glass, onto which un-constructed portions of the set - including appropriate shadows - had been painted), was that the sunlight falling onto the miniature would always match that illuminating the full-size set.

I hope I explained all that in a way that made sense.


Poe! You are...avenged!

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Very clever. Thanks for the explanation.

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Also California had a lot more empty space back then. Movie studios purchased 40 acre lots where they could build large sets, including a full sized racetrack. (Today those lots are filled with urban homes.)

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Here's a short documentary on how it was filmed.
https://youtu.be/2nO2DPqO6Bg

I thought P.E.T.A. meant People Eating Tasty Animals

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Very interesting, thanks

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[deleted]

A lot of it looked like perspective to me.

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One of the sets for D.W. Griffith's INTOLERANCE was enormous, too.

SEE: http://blogcenter.readingeagle.com/tony-lucias-movie-house/wp-content/uploads/sites/4/2016/06/intolerance-babylon-1024x788.jpg

But if it was built in Hollywood (BEN HUR was made in Italy) they could use pieces of the set over and over again.

MGM was the biggest and most lavish of the studios. They were the one that could really go all-out on a regular basis. But still, they only made a spectacular like that every now and then.

GONE WITH THE WIND used a lot of matte paintings, which was a way of painting part of the set on glass then shooting through the clear part so it all blended together. For instance, the ceilings would be painted on the glass, so you got a lot of architectural detail and height, when desired.

You probably know all this already : ) I don't mean to sound condescending!
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I didn't know it. Thanks.

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Here's a neat article (with short documentary) about matte painting, with examples.

SEE: https://www.rocketstock.com/blog/visual-effects-matte-paintings-composited-film/
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