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The cinema as a graphic art : on a theory of representation in the cinema (1959)

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METHODS OF WORKING OUT THE SCENARIO TOP LIGHTS ^jSftr iooo mm. | 10 1 SCHEME WITH 2 LIGHT SOURCES i i 750 mm. § 7 § ^■^ 600 mm. 1 0 1 SCHEME fa i 1 500 mm. W _ ^ 1 5 1 WITH 2 LIGHT SOURCES 330 mm. | 5 1 <* ^ 250 mm. fol SCHEME WITH 3 LIGHT 9 D V i SPOT ^^1+ arc m J» m SOURCES ft BANK JOT SCHEME WITH 4 LIGHT SOURCES &?J> SPECIAL ^^^^ EFFECT | A 1 APPARATUS V^ J i ^ , Fig. 65. — Proposed symbols for lighting apparatus. Fig. 66.— Chart of close lighting scheme for -up. tuipment and the camera set-up is marked down on a specially scaled graph. 1 the same time the technical conditions of shooting are approximately deter1 ned, and the laboratory treatment of the exposed negative noted down. In i lower part of the table is a schedule of the lighting equipment and a general ( imate of the amperage. Tables of this kind should be filled in exclusively for long-shots of each object. r lere is no necessity for such tables when taking mid-shots or close-ups, since t s character of the lighting of the appropriate long-shot has provided the camera1 m with a basis. Estimating that in a film of normal length (7,200 feet) there 131 i