تويت
التصوير الفوتوغرافي الحديث
التصوير الفوتوغرافي الأساسي للصور المتحركة
التخطيط للفيلم
عينة من النص، النهاية
A SAMPLE SHOOTING SCRIPT
With the synopsis sketched briefly , we are ready to attack the actual shooting script . The shooting script is really a list of all the individual scenes arranged in the sequence in which they will be seen in the finished movie . As an aid to shooting , the camera distance ( or type of lens ) is given for each scene : The initials LS stand for long shot , MS for medium shot , MCU for medium close - up and CU for close - up . Sometimes ECU is used for extreme close - up . The shooting script for our sequence of the Smith family may very well go something like this :
Scene 1. LS . The Smith garden . Dad puttering about at the rose bush . Mother in another part of the garden using a small hand spray .
Scene 2. MCU . Dad clipping away at the bush . Suddenly stops to look closely at something .
Scene 3. CU . Dad inspecting signs of insect activity . He looks up in Mother's direction .
Scene 4. MS . Dad calls to Mother , who enters carrying spray gun which she hands to Dad .
Scene 5. MCU . Dad is spraying bush , when rubber ball rolls into view , followed by Scotty .
Scene 6. CU . Ball rolls into bushes . Dad's hand picks it up .
Scene 7. MCU . Scotty attempts to get ball from Dad . Dad calls to Junior who is off camera ( out of the field of view ) .
Scene 8. MS . Junior comes running into picture and gets ball from Dad . Scotty transfers his attention to Junior .
Scene 9. MCU . Scotty jumping for ball , but Junior holds it out of reach . He then turns and runs out of scene holding the ball in plain view so Scotty will follow him .
Scene 10. MS to LS . Junior running out of the garden while playing with the ball . Scotty scampers after him .
THE END
The scenes in a shooting script are listed in the order in which they are to be shown . However , this is seldom the order in which they are photographed , except in extremely simple , short sequences which require very little changing of scene or camera viewpoint . The customary practice is to shoot scenes in the most convenient order , then cut and splice them into the correct sequence later .
In a long and complicated story , it may be necessary to make a secondary shooting script in which you would group all the scenes to be shot at the same time . This guards against the possibility of omitting an important scene when shooting at one location , making it necessary to go back again , often at considerable expense and loss of time . A family vacation trip could very well have a secondary shooting script in rough - and - ready form if you are already pretty familiar with the vacation spot and can plan your shooting program in advance . In simple bits of action , such as the one described here , just the one shooting script is enough , but keep in mind the possibility of changing or improving it if some interesting bit of action occurs to you during the shooting .
FOOTAGE
In some shooting scripts , it is advisable to list the footage of film to be shot . This gives the photographer a better idea of the importance of the scene and what is required of him .
If sound is to be added later , the shooting script must show the footage required . This will make it possible to match the picture to the sound . The photographer should always plan his shots and expose a little more film than necessary to permit some leeway in adding the sound later , since excess footage can always be cut . However , in the final editing , he must be sure to cut out this excess footage , or his movie will be too long and boring .
AIDS TO CONTINUITY
In our very simple garden sequence , the continuity was a simple and logical one . No special effort was needed to think up effective and original means of causing one scene to lead to the next . Most films , however , present no such logical continuity and it is often necessary to introduce little bits of business to bridge the gap in the action .
As an example , let us take an average film of a summer vacation trip by car . Most such films consist of a large number of unrelated events , each taking place in an interesting place or important point touched on during the trip . The problem is to add some interesting bit of action which will serve to bridge the gaps between these individual scenes .
In one very effective picture of this type , a small boy in the party was photographed starting on a giant lollipop , some twelve inches in diameter , at the beginning of the automobile trip . Every now and then when action lagged or a long uninteresting jump was made between two stopping points , the photographer took a quick shot of the boy attacking the lollipop . Each shot was of very short duration , and each showed the lollipop a little smaller than before . The final shot , of course , showed the lollipop disappearing into the boy's mouth in one big bite , just as the family reached their destination .
These very short shots of the lollipop being consumed by the boy were then cut and spliced into the film at appropriate intervals . When the picture was finished and projected on the screen , the boy and his gradually diminishing lollipop provided the all - important element of continuity . At the same time these shots added human interest and humor to the story , and also introduced the important element of time . This simple device , thus had a three - fold value in contributing to the effectiveness of the picture .
This type of action , spotted throughout a picture to add continuity through . humor is called a running gag . It derives its value from repetition , but it is very important to keep each shot quite short . Every time the running gag shot is reintroduced , it must be shorter to avoid monotony . The final shot of the disappearing lollipop , for example , was just a flash close - up of the boy's teeth . crunching down on the stick .
Another simple trick to indicate elapsed mileage on a long automobile trip is to photograph a spinning auto wheel for several seconds . ( See Figure 14. ) This scene can then be cut up into a number of very short , one or two second shots and spliced into the picture to indicate that the party has moved on to another location .
Figure 14 A simple but effective way of showing elapsed mileage on an automobile trip is to shoot a few feet of film showing the front wheel of an automobile spinning rapidly .
A spinning automobile wheel can be photographed very simply . Have your garage or service station attendant jack up the rear of the car until both rear wheels clear the ground . Start the engine and let out the clutch . Take a close - up of the upper part of the spinning wheel , so the stationary pavement does not show , while someone rocks the car gently to simulate the normal swaying action of the car on the road ..
Still another trick is to shoot some footage of a gas pump in close - up ( Figure 15 ) and the gas station attendant adding gas ( Figure 16 ) . This can subsequently be tied into some humorous comments about the gas eating properties of the car .
Figure 15 A close - up of a gas pump can be inserted at appropriate points to provide continuity between scenes .
Figure 16 Close - up of gas being added is another simple method of providing continuity .
التصوير الفوتوغرافي الأساسي للصور المتحركة
التخطيط للفيلم
عينة من النص، النهاية
A SAMPLE SHOOTING SCRIPT
With the synopsis sketched briefly , we are ready to attack the actual shooting script . The shooting script is really a list of all the individual scenes arranged in the sequence in which they will be seen in the finished movie . As an aid to shooting , the camera distance ( or type of lens ) is given for each scene : The initials LS stand for long shot , MS for medium shot , MCU for medium close - up and CU for close - up . Sometimes ECU is used for extreme close - up . The shooting script for our sequence of the Smith family may very well go something like this :
Scene 1. LS . The Smith garden . Dad puttering about at the rose bush . Mother in another part of the garden using a small hand spray .
Scene 2. MCU . Dad clipping away at the bush . Suddenly stops to look closely at something .
Scene 3. CU . Dad inspecting signs of insect activity . He looks up in Mother's direction .
Scene 4. MS . Dad calls to Mother , who enters carrying spray gun which she hands to Dad .
Scene 5. MCU . Dad is spraying bush , when rubber ball rolls into view , followed by Scotty .
Scene 6. CU . Ball rolls into bushes . Dad's hand picks it up .
Scene 7. MCU . Scotty attempts to get ball from Dad . Dad calls to Junior who is off camera ( out of the field of view ) .
Scene 8. MS . Junior comes running into picture and gets ball from Dad . Scotty transfers his attention to Junior .
Scene 9. MCU . Scotty jumping for ball , but Junior holds it out of reach . He then turns and runs out of scene holding the ball in plain view so Scotty will follow him .
Scene 10. MS to LS . Junior running out of the garden while playing with the ball . Scotty scampers after him .
THE END
The scenes in a shooting script are listed in the order in which they are to be shown . However , this is seldom the order in which they are photographed , except in extremely simple , short sequences which require very little changing of scene or camera viewpoint . The customary practice is to shoot scenes in the most convenient order , then cut and splice them into the correct sequence later .
In a long and complicated story , it may be necessary to make a secondary shooting script in which you would group all the scenes to be shot at the same time . This guards against the possibility of omitting an important scene when shooting at one location , making it necessary to go back again , often at considerable expense and loss of time . A family vacation trip could very well have a secondary shooting script in rough - and - ready form if you are already pretty familiar with the vacation spot and can plan your shooting program in advance . In simple bits of action , such as the one described here , just the one shooting script is enough , but keep in mind the possibility of changing or improving it if some interesting bit of action occurs to you during the shooting .
FOOTAGE
In some shooting scripts , it is advisable to list the footage of film to be shot . This gives the photographer a better idea of the importance of the scene and what is required of him .
If sound is to be added later , the shooting script must show the footage required . This will make it possible to match the picture to the sound . The photographer should always plan his shots and expose a little more film than necessary to permit some leeway in adding the sound later , since excess footage can always be cut . However , in the final editing , he must be sure to cut out this excess footage , or his movie will be too long and boring .
AIDS TO CONTINUITY
In our very simple garden sequence , the continuity was a simple and logical one . No special effort was needed to think up effective and original means of causing one scene to lead to the next . Most films , however , present no such logical continuity and it is often necessary to introduce little bits of business to bridge the gap in the action .
As an example , let us take an average film of a summer vacation trip by car . Most such films consist of a large number of unrelated events , each taking place in an interesting place or important point touched on during the trip . The problem is to add some interesting bit of action which will serve to bridge the gaps between these individual scenes .
In one very effective picture of this type , a small boy in the party was photographed starting on a giant lollipop , some twelve inches in diameter , at the beginning of the automobile trip . Every now and then when action lagged or a long uninteresting jump was made between two stopping points , the photographer took a quick shot of the boy attacking the lollipop . Each shot was of very short duration , and each showed the lollipop a little smaller than before . The final shot , of course , showed the lollipop disappearing into the boy's mouth in one big bite , just as the family reached their destination .
These very short shots of the lollipop being consumed by the boy were then cut and spliced into the film at appropriate intervals . When the picture was finished and projected on the screen , the boy and his gradually diminishing lollipop provided the all - important element of continuity . At the same time these shots added human interest and humor to the story , and also introduced the important element of time . This simple device , thus had a three - fold value in contributing to the effectiveness of the picture .
This type of action , spotted throughout a picture to add continuity through . humor is called a running gag . It derives its value from repetition , but it is very important to keep each shot quite short . Every time the running gag shot is reintroduced , it must be shorter to avoid monotony . The final shot of the disappearing lollipop , for example , was just a flash close - up of the boy's teeth . crunching down on the stick .
Another simple trick to indicate elapsed mileage on a long automobile trip is to photograph a spinning auto wheel for several seconds . ( See Figure 14. ) This scene can then be cut up into a number of very short , one or two second shots and spliced into the picture to indicate that the party has moved on to another location .
Figure 14 A simple but effective way of showing elapsed mileage on an automobile trip is to shoot a few feet of film showing the front wheel of an automobile spinning rapidly .
A spinning automobile wheel can be photographed very simply . Have your garage or service station attendant jack up the rear of the car until both rear wheels clear the ground . Start the engine and let out the clutch . Take a close - up of the upper part of the spinning wheel , so the stationary pavement does not show , while someone rocks the car gently to simulate the normal swaying action of the car on the road ..
Still another trick is to shoot some footage of a gas pump in close - up ( Figure 15 ) and the gas station attendant adding gas ( Figure 16 ) . This can subsequently be tied into some humorous comments about the gas eating properties of the car .
Figure 15 A close - up of a gas pump can be inserted at appropriate points to provide continuity between scenes .
Figure 16 Close - up of gas being added is another simple method of providing continuity .
تعليق