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2. REVIEW OF TECHNICAL METHODS OF SHOOTING
When the linear-dimensional and the tonal compositions have been comletely worked out, the camera-man's part in preparing the production scenario i virtually finished. As we have said, the technical aspect of the compositional :hemes should not be included in the production scenario, but should be drawn p as a separate project, in the form of the ' camera-man's diary \
In our opinion this ' diary ' should consist of a series of tables giving the ichnical explanation of the most complicated of the compositional schemes, )gether with exact instructions as to the technical methods by which they are ) be carried out.
The need for the ' camera-man's diary ' arises from a series of technical ifriculties. To begin with we must remark that so far cinematographic technique as no satisfactory system of generally accepted recording of technical methods. Vhen the camera-man hands in his request for lighting apparatus and auxiliary ttachments to the corresponding department he usually employs his own primive symbols, and certainly not those of any single, generally accepted system.
In all other spheres of technique there is a single system of graphic symbols >r use in plans, diagrams, etc. And in view of the technical complexity of the looting process, we consider that a similar single system is very timely and ecessary in the sphere of the camera-man's technique.
In order to indicate technical methods the directorial scenario customarily "sorts to a standard literary description, such as ' slow lap dissolve ', ' wipe downwards ', ' fade-in ', ' fade-out ', and so on. Taking for granted that the production :enario should contain not only the director's scenario treatment, but that of ;ie camera-man, sound-recordist, music composer, art director and other parcipants in the process of film making, we must ensure that any form of technical /mbol should be as simple as possible. Otherwise the production scenario will e overloaded with all kinds of literary annotations, which will make it impossibly ifficult to decipher during the filming process. Consequently, we propose a rovisional graphic system to convey the camera-man's technical methods.
In Fig. 64 we give simple symbols, founded on the principle of direct graphic milarity with the functional aspect of each respective technical method. Only lementary methods not involving special preliminary estimates are included.
1. Fade-out.
2. Fade-in (the reverse process).
3. Lap dissolve or Mix (combination of the two previous processes).
4. Pan in horizontal and vertical directions.
5. Iris diaphragm.
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