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.
THE COMPOSITIONAL CONSTRUCTION OF THE SHOT
Fourth example. — A moving object is made to appear motionless. The camera viewpoint is chosen to ensure that, provided the object is moving in the same direction and at the same speed as the viewpoint, the background is excluded from the field of vision. As in consequence any movement of the object could only be perceived in relation to the frame limits, it is made to appear motionless. To illustrate this, take a mid-shot of a walking man, against the background of a cloudless sky. The camera moves parallel to the man. Provided that no tendency to movement has been suggested in the shot immediately preceding it in the editing sequence, the sense of dynamism will be lacking.
Fifth example. — The viewpoint revolves around its centre, while the object and background are static, so that the impression of a turn is conveyed. The viewpoint revolves around the optic axis of the lens.
In illustration, consider the effect of filming a group of people in a square from above. During the process the camera turns on the optical axis of the lens. On the screen the entire square revolves. (This kind of shot can be taken without moving the camera, by means of a special revolving prism.)
The unbroken movement of the camera viewpoint in a vertical or horizontal direction, or in the direction of the optical axis of the lens, overcomes the restrictions of the frame limts as a kind of permanent margin closing the shot field of vision. We achieve this effect in all pan (panorama) shots, and also in tracking shots, in which the camera moves towards or away from the object. This change of viewpoint results in an unbroken change in the picture picked out by the frame limits, and so in the image thrown on the screen.
We have specified only a few of the most typical examples of the extensive possibilities of exploiting the camera viewpoint in compositional construction. Obviously, there are many other ways of combining the dynamic and static | elements in the frame. The viewpoint must be chosen in each case in accordance I with the motivation provided by the scenario. And it is impossible to foresee I and list all the variety of scenario motivations and the methods of realising I them.
But we must consider one other factor. Not infrequently camera-men avoid resorting to ' extreme ' viewpoints, by which they mean those looking perpendicui larly down or up at an object. They try to keep to the ' usual view ', assuming that by so doing they express the scenario purpose in a more ' intelligible ' representational form. Thus a set standard arises, and the camera-man loses one of
Fig. i 6. — Viewpoint from above.
43