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THE CINEMA AS A GRAPHIC ART
1. The choice of lens according to the character of the sketch, the lightin strength and focal length.
2. Determination of the position of the camera whe i shooting (the set-up).
3. Auxiliary optical attachments (supplementary lenses, gauzes, etc.).
4. The filter and its selective absorption.
5. The scheme of distribution of lighting apparatus or the distribution ( the lighting accessories in exterior shots.
6., Determination of the technical method of fixing each shot.
7. Preliminary estimate of exposure time, etc.
8. Determination of the speed of shooting.
9. Special auxiliary attachments, etc.
Obviously, here we have to deal with a number of definite technical detail which must in some way be taken into consideration in advance. The inclusio of all such instructions in the production scenario is technically quite impossibli and for that matter is unnecessary. In the same way it would be stupid to deman that the art director should include in the production scenario all his exact instruc tions and estimates for the construction of the sets. The director is usuall content to confirm the model of the set, leaving the art director to solve th technical problems. Yet, independently of the production scenario, a preliminar technical treatment is of great importance for the camera-man, both in order t enable him to prepare for the shooting process, and also so that he can accumulat his technical experience in a permanent form. Consequently, a separate forr of setting out should be adopted for the technical treatment, and we may pre visionally call this form the ' camera-man's diary '.
It must be emphasised that the establishment of useful organisational form of preliminary treatment of the creative task must not be regarded as an attemp to restrict the camera-man's freedom in the shooting process. So far as he i concerned the compositional scheme is only a starting-point and guiding facte in the construction of the shot. He entirely retains his right during the shootin process to modify the compositional scheme adopted in any scene in order t bring it into correspondence with the actual conditions of shooting and the no tasks that arise during shooting in consequence.
At the same time, the working out of compositional schemes during th preparatory period undoubtedly inspires the camera-man, and ensures that th compositional construction of the shots has been given adequate thought befor shooting.
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