As Jissoji is also known for his filming techniques including the method commonly called “name (pronounced like /nahmeh/)” in Japanese that denotes “licking (the verb form is nameru)” with which he filmed scenes as if a camera “licks” a character with a lot of close-ups. And filming an object over/through another object was another feature of his filming techniques.
Incidentally, as tokusatsu scenes where the miniatures and the kaijus appeared were filmed by the tokusatsu staff and directed by the tokusatsu director, mostly Koichi Kono, so the above features can be seen exclusively in the drama part of the show in which human characters play.
His “name” technique seems to be thought of as pretty unusual and incomprehensible by people, and, when the “Ultra Q No Oyaji” previously referred to was filmed and he tried to shoot the scenes through a bird cage, Eiji Tsuburaya said to him with a puzzled look, “What a strange place you’re shooting from. Shall I get rid of the bird cage if it gets in the way?”
It is said Eiji Tsuburaya told Jissoji at that time the parallax of the Mitchel cameras would make it easier to focus on an object, saying, “I hope to let you give filming with it a try.”
These episodes seem to tell us how kind and thoughtful Eiji Tsuburaya was to younger people while it makes us more convinced of the fact that a lot of young people got to develop themselves under him as shown in the Tsuburaya products including the Ultra Series (sadly enough, I feel like such a warm atmosphere can hardly be found in this country now).
It is likely that Jissoji said he fully understood what Eiji Tsuburaya was saying about the camera when he actually used a Mitchel camera in later years.
When he was with TBS, Jissoji attempted to incorporate a variety of filming techniques inspired by New Wave/Nouvelle Vague movies that arose in France so he applied them to ordinary TV dramas and shows and got a bad name for them from TBS, which led to making him sidelined even temporarily.