تويت
التصوير الفوتوغرافي الحديث
التصوير الفوتوغرافي الأساسي للصور المتحركة
التخطيط للفيلم
استمرارية القصة، استمرارية التخطيط
PLANNING THE MOVIE
STORY CONTINUITY
The secret of good movies lies in one word - continuity . Although a reel of motion picture film consists of a large number of individual still pictures , you must never lose sight of the fact that these pictures are never looked at individually , but always in rapid sequence . It is motion - continuous and interesting motion - that gives a reel of individual stills its value as a motion picture .
This concept of motion must go beyond the point of having things move just for the sake of motion . They must move for obvious and logical reasons , and their motions must have some definite purpose . Let us cite , for example , three ways to photograph the members of a family . The first is to have the father pose motionless in front of the camera for the few seconds necessary to run off the required number of feet . Next would come several feet of film showing better half in an equally dull and uninteresting pose , followed by the remaining members of the family in the order of their ages and importance . The pictures would undoubtedly show the family , but in t true sense would they constitute a motion picture of the family . A still picture of each member would show as much and would certainly be a lot cheaper and easier to make .
The second method of picturing this family would be to have them walk toward the camera and one at a time , smile or show some evidence of animation , and then walk out of the field of view . This method has one advantage over the first - the subjects show some animation , even if it doesn't mean much . The second picture would be but little better than the first , however , because the element of continuity is missing . We still have nothing more than a sequence of poorly related scenes .
Now let us try a third method of picturing the same family . This time we will start with father working in the garden . A few seconds later mother walks into the scene to lend a hand . While they are busily engaged puttering around the flowers , a rubber ball rolls into the scene followed closely by the family dog . Next , Junior arrives on the scene to lead the dog out of mischief , but before everything is under control , some inevitable chasing and good natured rough housing takes place .
In this third method of picturing the family , we have made use of continuity to tie the action together and to create a simple yet logical story . There is a reason for every bit of action , and when any member of the family is brought into the picture , it is done naturally and smoothly . The third movie cannot possibly be duplicated successfully by making a series of stills ; the first two can .
Continuity doesn't just happen . It must be planned in advance , and it should be planned down to the last foot of film if you want the best possible results .
PLANNING CONTINUITY
There are a number of stages to the planning of any movie continuity . The very simple continuity we have just outlined briefly would be developed
something like this :
1. The general idea .
2. Brief synopsis , or summary of the story .
3. The shooting script .
Now let us see how we might have planned our family sequence had we followed our outline .
First comes the general idea - that is , to take a simple movie sequence of the Smith family , consisting of Dad , Mother , Junior , and Scotty the dog . Next comes the brief synopsis . This would read as follows :
Picture starts with Dad trimming the rose bush . He sees signs of insect pest activities and calls to Mother to bring him the spray gun . She does so . While he is spraying , Scotty rushes into picture chasing his ball . Junior follows him to keep him out of mischief . Sequence ends with Scotty chasing after Junior in play .
التصوير الفوتوغرافي الأساسي للصور المتحركة
التخطيط للفيلم
استمرارية القصة، استمرارية التخطيط
PLANNING THE MOVIE
STORY CONTINUITY
The secret of good movies lies in one word - continuity . Although a reel of motion picture film consists of a large number of individual still pictures , you must never lose sight of the fact that these pictures are never looked at individually , but always in rapid sequence . It is motion - continuous and interesting motion - that gives a reel of individual stills its value as a motion picture .
This concept of motion must go beyond the point of having things move just for the sake of motion . They must move for obvious and logical reasons , and their motions must have some definite purpose . Let us cite , for example , three ways to photograph the members of a family . The first is to have the father pose motionless in front of the camera for the few seconds necessary to run off the required number of feet . Next would come several feet of film showing better half in an equally dull and uninteresting pose , followed by the remaining members of the family in the order of their ages and importance . The pictures would undoubtedly show the family , but in t true sense would they constitute a motion picture of the family . A still picture of each member would show as much and would certainly be a lot cheaper and easier to make .
The second method of picturing this family would be to have them walk toward the camera and one at a time , smile or show some evidence of animation , and then walk out of the field of view . This method has one advantage over the first - the subjects show some animation , even if it doesn't mean much . The second picture would be but little better than the first , however , because the element of continuity is missing . We still have nothing more than a sequence of poorly related scenes .
Now let us try a third method of picturing the same family . This time we will start with father working in the garden . A few seconds later mother walks into the scene to lend a hand . While they are busily engaged puttering around the flowers , a rubber ball rolls into the scene followed closely by the family dog . Next , Junior arrives on the scene to lead the dog out of mischief , but before everything is under control , some inevitable chasing and good natured rough housing takes place .
In this third method of picturing the family , we have made use of continuity to tie the action together and to create a simple yet logical story . There is a reason for every bit of action , and when any member of the family is brought into the picture , it is done naturally and smoothly . The third movie cannot possibly be duplicated successfully by making a series of stills ; the first two can .
Continuity doesn't just happen . It must be planned in advance , and it should be planned down to the last foot of film if you want the best possible results .
PLANNING CONTINUITY
There are a number of stages to the planning of any movie continuity . The very simple continuity we have just outlined briefly would be developed
something like this :
1. The general idea .
2. Brief synopsis , or summary of the story .
3. The shooting script .
Now let us see how we might have planned our family sequence had we followed our outline .
First comes the general idea - that is , to take a simple movie sequence of the Smith family , consisting of Dad , Mother , Junior , and Scotty the dog . Next comes the brief synopsis . This would read as follows :
Picture starts with Dad trimming the rose bush . He sees signs of insect pest activities and calls to Mother to bring him the spray gun . She does so . While he is spraying , Scotty rushes into picture chasing his ball . Junior follows him to keep him out of mischief . Sequence ends with Scotty chasing after Junior in play .
تعليق