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AMATEUR MOVIE MAKING 379
to the scene (c) to add to the psychological spirit of the production. The first consideration has been fully discussed.
In photography we are dealing with a four dimensional reproduction. We have the geometrical dimensions of length and breadth, as well as the less tangible dimension of time, but depth may be represented only by illusion. As this is quite necessary, we should clearly understand that there are four major ways of producing this illusion. First we have the linear perspective. Here we unconsciously estimate depth due to the progressively converging parallel lines, the usual perspective as taught in elementary drawing. Second we have the aerial or atmospheric perspective in which distance is simulated by a constantly decreasing contrast, which makes distant hills appear to be clothed in haze. The third effect is one of lighting, where properly placed lights give an appearance of roundness, and thus solidity to the object and the fourth is a trick of illumination, in which an object in the foreground is strongly lighted leaving the background comparatively weakly illuminated.
In professional productions, all of these effects are subject to manipulation, but the amateur is advised to take the first two as he finds them. They are useful only in exteriors or unusually large interiors, while the last two may be, should be used in every interior scene.
The third effect, that of securing roundness has been discussed in the chapter dealing with interior lighting. The fourth consists merely of giving the principal subject a different intensity of illumination from that given to the rest of the scene. The backlight is one of the most common examples of this device in which an intense light thrown upon the back of the actor renders unmistakable the distance existing between him and the background.
The next step is to study the set carefully to see if the style of lighting corresponds to the mood of the scene to be enacted. This has also been explained, and illustrations given. In this remember that if you can give the maximum illumination to the center of the set and allow all edges to fall away slightly in illumination you will