Voyage to the Bottom of the Sea
Filmic Verisimilitude*
Red hot and rolling, er...sailing.
Seaview Leaving Pearl Harbor.  From "Mutiny."

     Loss of the wonderful sort of composite imagery seen here is the price Voyage paid for its transition to color in 1965.  Apparently, budget constraints  made these more-expensive kinds of sequences impossible.  It is this writer's contention that this was a mistake.  The cost of creating a few such images as key "story-movers" could have easily been defrayed over a period of years by reusing the shots, as was done with aerial sequences of the Flying Sub.  
      A surface shot of Seaview putting to sea from the Institute would have created a sense of place and movement and could have been reused again and again.  Shots such as this would not have stuck out as being obviously repetitious as did the sequence of Seaview hitting bottom used week after week in the third and fourth seasons.  I mean, what was the likelihood she'd crash into the same rock every week?  But setting to sea might easily look the same just about any time of year (as a seasonal compromise, make the skies partly cloudy).  As a kid, I waited for this kind of atmosphere.  It still rings my bells today.
    By the way, the image of Pearl in the background is actually a still photograph which composited perfectly into footage of the 18-foot miniature Seaview.  Projected on the big-screen, this might have been noticeable.  On regular definition TV, even today, it's undetectable unless you really know what to look for.  The perfect shortcut for the given situation.
Here I come.

I'm comin' to getcha.

Oops--there I go....
*Verisimiltude--having the appearance of truth, reality.

Thanks to Stephanie Kellerman for her aid in attaining screen captures.

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