Writing the photoplay ([c1913])

Record Details:

Title:
Writing the photoplay
Date:
[c1913]
Author:
Esenwein, J. Berg (Joseph Berg), 1867-1946
Publisher:
Springfield, Mass. : The Home Correspondence School
Volume:
Writing the photoplay
Leaf #:
000210
Language:
English
Format:
Books
Contributor:
University of California Libraries
Sponsor:
MSN
Coordinator:
Media History Digital Library
Description:
Date Added:
July 19, 2022
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

CHAPTER XIII THE PHOTOPLAY STAGE AND ITS PHYSICAL LIMITATIONS By "the photoplay stage" we mean all that sweep of view which is taken in by the range of the camera, whether in the studios or out-of-doors. At first this may appear to be of very wide area, but the scene-plot diagram (see Chapter XI) will give a good idea of space limitations in staging the picture. I. Scope of the Stage. To begin with, the actors must be constantly on the alert to avoid "getting out of the picture" while the scene is being taken. Suppose an actor is seated in a reclining chair that has been "set" where the line A cuts it in half, so to speak. If he is leaning forward, he will be completely in the picture. But if he forgets himself and leans back it is likely that the upper part of his body will not appear when the film is developed. To avoid this, the V-shaped lines shown on the scene-plot are actually marked on the floor, in most studios. A piece of strong cord, or sometimes wire, is stretched tightly from B\.oC and thence to D. Within this V-shaped space the complete set must be made, and within these limits the entire scene is played. In the case of a set requiring more than the ordinary amount of depth, such as the interior of the church, in Essanay's "Robert