The monitors were wired up to videotape machines, which gave an instant playback facility. This, in theory, was an ideal situation as it gave the director the ability to re-shoot the scene during the same aerial sortie, without recourse to landing, re-briefing and taking off again. This could save the Aerial Unit considerable amounts of money, a commodity which became increasingly critical as the filming schedule progressed during the summer of 1968. In practise, this system did not work quite how the film-makers had envisaged it!

By far the most recognisable modification to the B-25 was the nose glazing. The standard framed bomb aimer's position had been removed and was replaced with a specially mounted hemispherical Plexiglas bubble, giving a 180 degree coverage for the Panavision camera mounted inside the nose compartment. Final modification to the aircraft involved a retracting double-jointed arm with a remote control camera fitted to the end. This arrangement could be lowered out ofthe bomb bay, with a 360-degree coverage. While this last 'mod' would have undoubtedly captured some spectacular footage, it is not known ifit was actually used during the filming. These extensive modifications to the B-25 took three months to complete, at an estimated cost of $75,000.

Complimenting all of the sophisticated equipment inside the Mitchell was an exterior paint scheme, which earned the aircraft its nickname of 'The Psychedelic Monster'. So that the different formations of Heinkels, Messerschmitts, Hurricanes and Spitfires could easily identify where the aerial director wanted them positioned, the B-25 was painted in a very distinctive set of colours. The forward fuselage and nose was finished in natural metal, with a white section which carried the film logo, plus the legend 'Euramericair associated with Visionair Intnl'. The port side of the bomber's rear fuselage was coloured red; the starboard was painted green. These colours were carried through to the aircraft's twin tail fins. Engine cowlings were white and the remainder of the nacelles were yellow. Most distinctive of all were the wings, which were painted with a series of black and white chord-wise stripes. While the Mitchell's colour scheme was certainly different, the logic behind the markings worked like a dream. The aircraft was highly visible in the sky, which made it easy for the vintage fighters and bombers to home in on the cameras.

Flying the Mitchell, along with Hawke, for the filming sequences was well known American warbird pilot Duane Egli. Manning the cameras were two of the world's best aerial cameramen, Skeets Kelly and John Jordan. Sadly both of these two experts in their field were killed while participating in airborne

filming after the Battle of Britain had been completed. Kelly died in the midair collision of an SE.5A replica and the helicopter cameraship during the filming of the 1971 film Zeppelin. John Jordan had earlier diced with death during the shooting of the James Bond film You Only Live Twice, in which the lower part of one of his legs was severed by a helicopter rotor blade. During the shooting of the war film Catch 22 in 1970 Jordan fell out of the rear turret of the B-25 cameraship (NI203). Battle of Britain stands as a lasting testament to the airborne camera skills of Kelly and Jordan.

The Psychedelic Monster was utilised both in Spain, where it weaved among the mass formations of Messerschmitts and Heinkels, and back in the UK where its cameras captured the bulk of the aerial dogfights. Hawke and Egli managed to put the aircraft exactly where the director wanted it, whether it be slowed right down almost on the point of stall so that large numbers of HeinkeIs could roar over the top of the camera-equipped tail turret, or guiding the Messerschmitts, Spitfires and Hurricanes up through the UK's bad summer weather in search of some sunshine for the cameras.

Certain guidelines were laid down for the Mitchell's use as a flying camera platform. A Spitfire Productions memo from Director Guy Hamilton dated March 25, 1968, states: B-25 On A Parallel Course With The Planes. There are only two scenes in the film when the formations are riding steadily along prior to engagements by the RAF No more time than necessary should be devoted to these three of four cuts, because we are after combat material. In every instance, from the RAF viewpoint, combat material will commence with an eye-line of the enemy - either below us or above us and very distant. The B-25 now comes into its own. What will give the material a sense of speed and movement is the closing rate in between the camera and the formation. Wherever possible the camera plane should veer off-bank or turn so as to bring the tail camera into play.