Supermarionation is a filming technique developed by Gerry Anderson and other contributors. The name is a combination of the words Super Marionette and Animation. It combined the use of one third scale marionette puppets with an innovative Auto-Speak system which animated the character's mouths. Supermarionation shows typically used live action footage for some close-ups and smaller scale models for long shots, although the final Supermarionation program The Secret Service used live action for the long shots. The label was first applied to the show Supercar in 1961 (the second series of 13 programmes) and the technique was used in Anderson's shows throughout the 1960s.
Evolution of the Supermarionation processEdit
The Supermarionation process was based on the techniques used in Gerry Anderson's early puppet shows and continued to be refined right through to it's final form used in the shows Captain Scarlet And The Mysterons and The Secret Service.
Notable stages in the development of Supermarionation: For the show Stingray genuine prosthetic eyes (made to a one third scale) were used to make the characters look more realistic. Another innovation during the filming of Stingray was to begin painting the control wires to match the background of each scene. Thunderbirds saw the first use of the Rolling Road technique for model shots. In Captain Scarlet And The Mysterons the ongoing problem of the puppets unrealistic walk was largely solved by eliminating almost all shots requiring the puppets to walk. The Secret Service used live action footage for shots where characters were viewed from a distance. This eliminated the need to use small scale models of the characters. Presumably this technique was considered preferable to scale models, but could only be applied to here because of the contemporary setting.
Sucessors to SupermarionationEdit
As the 70s dawned Gerry Anderson, ever the innovator, felt it was important to move on from techniques that he had been using in the 1960s. As a result he moved on to live action shows such as UFO and Space: 1999; many of the same techniques employed in Supermarionation were still used for exterior and vehicle shots.
In the 1980s Gerry Anderson developed a process known as Supermacromation. Like Supermarionation this was based around puppets, although this time they were hand puppets rather than a marionette style puppets. This new approach overcame the difficulties with creating a realistic walking motion and other problems that Gerry Anderson had found particularly frustrating.
In the 1980's, anime master Go Nagai along with Kimio Ikeda created X-Bomber, a series created using puppetry quite similar to Supermarionation -in a process dubbed Sūpāmariorama by the crew. The success of “Star Wars” and “Thunderbirds'” longstanding popularity inspired producer Kimio Ikeda of JIN Productions to try combining Lucas' space opera approach with the Andersons' marionette techniques to offer what he hoped would be a fresh alternative to the plethora of SF anime on Japanese TV.
X-Bomber was aired in Japan from 1980-1981 with 25 episodes, where it was met with disappointing results and the show was cancelled after its 12th episode. In 1982, the series was dubbed into English and repackaged as Star Fleet, airing on ITV Saturday mornings from October 1982 to April 1983. The show was much more successful to UK audiences, even achieving a cover theme of Paul Bliss' ending theme composition by Brian May of Queen.
The Supercrappymation process devised for the film Team America World Police was based heavily on Supermarionation; the similar name being used in homage to the original. Supercrappymation puppets merged modern animatronics technologies with the Supermarionation techniques to produce characters with an unprecedented level of expression in their faces. Although the Supercrappymation process is a more technologically advanced process the word 'crappy' included in the name eludes to the differences in many of it's philosophies, for instance the control wires and limb joints were deliberately left visible where as Gerry Anderson would always go to great lengths to hide them.