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 CONTENT OF SHOT NO AS PER SCENARIO TYPI ! OF TENS rfv, u "IS * S V? _j< Pi «k s H a 3 "81 bs r w Vj " .-ill o _J q \ J 1 ^ 3? » i r 7 s 5. § N -1 R ■ r o ji_ L&+ 5 « ^\ z, :u%r ^* * H X 4 s 1 ., ^ o x' J 4!) k ^^ ^r Sa: * I <2 "® • ? » . •} 5 CALE pi iBT < O w El o o PHOTOGRAPHIC NOTES CAMERA FILM STOCK __ LENS f. _ap. SHUTTER. NOTES FOR LAB._ LIGHTING ARC INCAN. TOP 500 mm. 330 mm. 250 mm. SPOTS BANKS SPECIAL EFFECTS AMPERAGE Fig. 67. — Page from ' camera-man's diary Suppose we have to carry out a composite shot task of the following kind. j,ter four turns of the handle taking a normal shot we have to make a lap disi ve, next the shot proceeds normally for four turns, then a partial fade-out is I ide for one turn ; the shot continues with an angle of aperture of the shutter '<6z° for three turns, then the aperture is opened to the maximum for two turns, id lastly the shot proceeds normally. In our chart, the straight section, parallel t the horizontal axis, represents the course of the normal shot during the first 133