Ever since the dawn of cinema, people have been flying by wire.
In Fritz Lang's 1927 classic Metropolis, for example, shots of flying machines soaring over the film's iconic cityscapes were achieved by mounting miniature planes on taut wires. A similar technique was used in the original King Kong in 1933, for which a tiny squadron of biplanes was inched along its guide wires one painstaking frame at a time.
Then as now, there were plenty of amateur filmmakers keen to re-create the kinds of sequences they'd ogled in the blockbusters of the day. Luckily for fans of miniature aircraft shots, cinematographer Jerome H. Ash was on hand to offer advice.
Here's an extract from Ash's article Substandard Miniature Shots, published in the May 1936 edition of American Cinematographer:
"I think that by far the most satisfactory way to handle miniature plane shots is to hang the plane from wires, as the professionals do. To begin with, stretch three parallel wires well above the path you want the plane to take: these are strictly for support. From these, hang a little T-shaped wooden framework, on pulleys or eyelets; this supports and guides the plane. From the framework, three wires descend to the plane – one to each wing, and one to the tail."
Ash is at pains to point out to his enthusiastic amateur readers that the wires mustn't show up on camera. If only a little camouflage is required, he recommends a light application of blue vitriol. A more extreme solution involves painting the wires with alternating black and white stripes, each around half an inch in length – Ash likens this bold approach to the dazzle camouflage used on WWII battleships.