تويت
التصوير الفوتوغرافي الحديث
التصوير الفوتوغرافي الأساسي للصور المتحركة ..
التخطيط للفيلم،
طول المشهد ، تجنب الرتابة
SCENE LENGTH
The beginner in movie photography usually makes his scenes too long . Unless the action is extremely interesting , a long scene is a monotonous one , and few things put an audience to sleep as quickly as a monotonous movie . Next time you watch a movie on television , use a watch with a second hand to time the length of each scene . You will find very few which are longer than 4 to 10 . seconds . Translated into 8mm film footage , this means that the average scene should not run less than 4/5 of a foot , nor more than 2 feet . Only in the case of an unusually interesting scene , or if some particularly absorbing bit of action is going on , should you expose more than 3 feet without interruption .
AVOIDING MONOTONY
Although an individual scene should seldom exceed 10 seconds , that does not mean you should not photograph any subject or action taking longer than this . You can do so and still avoid monotony by changing the camera angle or position as often as is necessary to keep up interest . This standard method of keeping up interest was used in the garden sequence . It can be used just as effectively for interesting street scenes in travelogs by switching lenses or careful use of a zoom lens , and by changing camera position from time to time .
Our garden picture could have been taken much more easily by setting up the camera on a tripod and photographing every scene from this one camera distance . This would have made a very dull picture . Notice how interest was created through variation in camera position :
The picture opens with a distant shot taking in the entire garden . This type of opening should be used whenever you want to establish the location . It also introduces two of the principle characters . Later , when the action shifts from Dad to Mother , the audience is able to follow it without difficulty . This location shot , as it is called , should be of medium length to give the audience time to get their bearings , so to speak .
Before the audience can become tired of the first scene , it is brought to a close and the camera moves up to a medium close - up of Dad . Note that there has . been no change in what Dad is doing , but by moving in closer with the camera or using a telephoto lens from the same position , we are given a fresh viewpoint as well as a better opportunity to see what he is doing . We next shift to a close - up of Dad examining the rose bush .
A logical question to ask is why we did not shift directly from scene 1 to scene 3 instead of going through scene 2. Certainly it required more work to make three scenes instead of two . The reason is two - fold : first , to obtain greater . variety , and second , to obtain better continuity . Had we shifted from the distant shot of the entire garden to the close - up which shows only part of Dad at work on the rose bush , it would have been a little difficult to follow this big jump . The continuity would have been bad . By changing from a long shot to a medium shot , or a medium close - up , and then to a close - up , we get smoother continuity of action . We also get added variety by the introduction of a different camera angle , thus making it possible to keep the individual scenes shorter .
After the close - up of Dad examining the effects of insect activity on his prized rose bush , we shift to a medium shot . This shift serves a double purpose . First , it changes camera position and saves us the boredom of looking at a rose bush for too long a period ; second , it enlarges the camera's field of view and permits Mother to enter the picture naturally .
A good example of a location shot followed by a medium shot is shown in Figures 17 and 18 , which are taken from a movie about an unusual summer art school .
Figure 17 This establishing shot of a summer art school serves as an introduction to a movie about the unusual school .
Figure 18 This medium shot follows immediately after Figure 17 in the shooting script .
If you study the shooting script for the Smith family movie carefully , you will see that it has been laid out to avoid monotony by keeping each scene short and by constantly changing camera distance . Of the ten scenes in the script , one is a long shot , two are close - ups , two are medium shots , four are medium close - ups and one is a medium to long shot .
Next time you watch a movie , make it a point to watch how the skilled Hollywood professionals do the same thing . Each scene is short , and there is constant changing of the point of view , from medium to medium close - up to close - up and back again . Hollywood has many important advantages over the amateur . One of them is that the camera almost invariably is mounted on a crane or dolly so it can be moved about at will . With such mobile equipment , it is easy to follow every shift in the actor's positions . However , you can do wonders without this highly expensive equipment if you remember to keep your scenes short and shift camera positions or change lenses at frequent intervals .
If you are shooting with a zoom lens , be very careful how you use it to change apparent camera distance . Use the zoom effect very sparingly . When you zoom down on a subject , the effect is as though the subject is jumping out at you , not as if you are moving in on the subject . This is not a natural movement , and it can , therefore , be quite disturbing if used improperly or to excess . Keep the number of zoom shots in your picture to a minimum , and zoom as slowly as you can without dragging out the scene unnecessarily . Set the lens focal length to the value which will give just the angle or image size you want before you start shooting any scene . You should avoid zooming except when it is really necessary to give the dramatic effect required .
التصوير الفوتوغرافي الأساسي للصور المتحركة ..
التخطيط للفيلم،
طول المشهد ، تجنب الرتابة
SCENE LENGTH
The beginner in movie photography usually makes his scenes too long . Unless the action is extremely interesting , a long scene is a monotonous one , and few things put an audience to sleep as quickly as a monotonous movie . Next time you watch a movie on television , use a watch with a second hand to time the length of each scene . You will find very few which are longer than 4 to 10 . seconds . Translated into 8mm film footage , this means that the average scene should not run less than 4/5 of a foot , nor more than 2 feet . Only in the case of an unusually interesting scene , or if some particularly absorbing bit of action is going on , should you expose more than 3 feet without interruption .
AVOIDING MONOTONY
Although an individual scene should seldom exceed 10 seconds , that does not mean you should not photograph any subject or action taking longer than this . You can do so and still avoid monotony by changing the camera angle or position as often as is necessary to keep up interest . This standard method of keeping up interest was used in the garden sequence . It can be used just as effectively for interesting street scenes in travelogs by switching lenses or careful use of a zoom lens , and by changing camera position from time to time .
Our garden picture could have been taken much more easily by setting up the camera on a tripod and photographing every scene from this one camera distance . This would have made a very dull picture . Notice how interest was created through variation in camera position :
The picture opens with a distant shot taking in the entire garden . This type of opening should be used whenever you want to establish the location . It also introduces two of the principle characters . Later , when the action shifts from Dad to Mother , the audience is able to follow it without difficulty . This location shot , as it is called , should be of medium length to give the audience time to get their bearings , so to speak .
Before the audience can become tired of the first scene , it is brought to a close and the camera moves up to a medium close - up of Dad . Note that there has . been no change in what Dad is doing , but by moving in closer with the camera or using a telephoto lens from the same position , we are given a fresh viewpoint as well as a better opportunity to see what he is doing . We next shift to a close - up of Dad examining the rose bush .
A logical question to ask is why we did not shift directly from scene 1 to scene 3 instead of going through scene 2. Certainly it required more work to make three scenes instead of two . The reason is two - fold : first , to obtain greater . variety , and second , to obtain better continuity . Had we shifted from the distant shot of the entire garden to the close - up which shows only part of Dad at work on the rose bush , it would have been a little difficult to follow this big jump . The continuity would have been bad . By changing from a long shot to a medium shot , or a medium close - up , and then to a close - up , we get smoother continuity of action . We also get added variety by the introduction of a different camera angle , thus making it possible to keep the individual scenes shorter .
After the close - up of Dad examining the effects of insect activity on his prized rose bush , we shift to a medium shot . This shift serves a double purpose . First , it changes camera position and saves us the boredom of looking at a rose bush for too long a period ; second , it enlarges the camera's field of view and permits Mother to enter the picture naturally .
A good example of a location shot followed by a medium shot is shown in Figures 17 and 18 , which are taken from a movie about an unusual summer art school .
Figure 17 This establishing shot of a summer art school serves as an introduction to a movie about the unusual school .
Figure 18 This medium shot follows immediately after Figure 17 in the shooting script .
If you study the shooting script for the Smith family movie carefully , you will see that it has been laid out to avoid monotony by keeping each scene short and by constantly changing camera distance . Of the ten scenes in the script , one is a long shot , two are close - ups , two are medium shots , four are medium close - ups and one is a medium to long shot .
Next time you watch a movie , make it a point to watch how the skilled Hollywood professionals do the same thing . Each scene is short , and there is constant changing of the point of view , from medium to medium close - up to close - up and back again . Hollywood has many important advantages over the amateur . One of them is that the camera almost invariably is mounted on a crane or dolly so it can be moved about at will . With such mobile equipment , it is easy to follow every shift in the actor's positions . However , you can do wonders without this highly expensive equipment if you remember to keep your scenes short and shift camera positions or change lenses at frequent intervals .
If you are shooting with a zoom lens , be very careful how you use it to change apparent camera distance . Use the zoom effect very sparingly . When you zoom down on a subject , the effect is as though the subject is jumping out at you , not as if you are moving in on the subject . This is not a natural movement , and it can , therefore , be quite disturbing if used improperly or to excess . Keep the number of zoom shots in your picture to a minimum , and zoom as slowly as you can without dragging out the scene unnecessarily . Set the lens focal length to the value which will give just the angle or image size you want before you start shooting any scene . You should avoid zooming except when it is really necessary to give the dramatic effect required .
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