The final week of the shooting schedule was reserved for special effects work and tracking shots, for which Bava was able to use a dolly in one of the few occasions of his directorial career. In a scene in which Javutich appears to float towards Prince Vajda, Dominici was shot in close-up as he was pulled along by another, makeshift dolly. A later scene where Katia and Constantine look over their dead father's face employs a 180° pivot which was accomplished using a specially-customized camera with modifications by Bava's father, Eugenio, which included a rear system of radiating handlebars capable of spinning the camera on its axis. Its movement was so imperceptible that Garrani believed that the pivot was achieved through editing.
