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THE CINEMA AS A GRAPHIC ART
Thus in the first form we have compositional schemes covering the whole i the treatment of the given section of the film, and in the second we are give prescriptions for the technical accomplishment of each given compositional schemi
The author of the project reduces both the forms to one, assuming that is possible during the preparatory period to foresee the exact details of the technic; conditions of shooting. However, as we shall see later, they by no means alwa) correspond to the conditions actually prevailing in the course of production.
We give one further example of camera-man's preliminary treatment. Thi is the most typical of all the attempts to rationalise the shooting process.
SHOT FROM THE FILM " ORDER FOR LIFE "
LENINGRAD STUDIO
No. of shot
1
Footage
12
Set-up
Camera viewpoint from below. Camera two feet from ground level
Camera-angle.
Long-shot
Technical peculiarities
Back lighting. Take with a glass diffuser, slightly accelerated. Iris in
Shot content
Horizon. Snowy fields. The sun lises in morning mist from beyond horizon. A caravan of camels is passing
Colour and tone
No colour
Note : Take at 5 a.m., at dawn
Here we have technical indications for taking the film, expressed in literary form. But the compositional scheme, which is basic and the most important matter so far as the camera-man is concerned, is lacking. And the absence ol a compositional scheme makes the predetermining of technical conditions oi shooting in the form given completely pointless. The determination of the time of shooting, the set-up and camera viewpoint is possible only on the basis of at previously worked out compositional scheme on the one hand, and detailed acquaintance with the specific conditions of nature on the spot on the other. Thus, such a form of camera-man's preparatory technical treatment in reality predetermines nothing and rationalises nothing, and is only an arbitrary kind oi * bureaucratic red-tape '.
So that in the production practice of Soviet and foreign cinema we find the following forms of camera-man's treatment :
1. The organic inclusion of elements of the representational treatment in the production scenario (the Wysbar and Kuleshov systems).
2. A camera-man's scenario worked out independently and parallel with the directorial scenario (the Zhemchuzhni proposal).
3. The absence of any representational treatment in a preliminary worked out form, and its replacement by technical instructions, which are of no decisive importance in the subsequent shooting process (the form of camera-man's preparation most frequently met with in production).
Undoubtedly the most valuable way of preparing the camera-man for making
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