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

METHODS OF WORKING OUT THE SCENARIO < a set directly in front of the camera lens, at a distance of three to four feet. The ]*ver part of the set was built up in a corresponding position at a greater distance i full scale, and the action with the actors took place against the background of lis part of the set. This method of combined shot is very simple to achieve t:hnically, but the preparation of the model demands absolutely exact preliinary calculations, which the camera-man should make and hand to the art (rector. In constructing a set to its natural scale the camera set-up, situated at a jeviously known distance from the set, is taken into account. In that case, ring a lens with a definite focal length, only one definite point can be chosen ;>ng the line of the lens' optical axis at which the model can be set up. If the i:Ddel is so sized that it must be set up at a distance of ten feet from the camera, len there can be no shifting of the model during the shooting process, otherwise either hides part of the natural-size set, or comes out too small. Consequently e calculations governing the size of the model must be absolutely exact, and an <tot of three or four inches only will result in failure to achieve a perspective mbination of the model and the full-size background set. At the present time the method of simple perspective combination with a ilodel is used a great deal, not only abroad, but in Soviet cinematography. Coniquently, special attention must be given in the scenario to preliminary calcujfcions of model position. (Fig. 69 gives an example of a preliminary calculation for such a model to used in perspective combination. Supposing that part of a set sixty-five feet long is built up in its natural size at a PLAN FROM 65 FT. ABOVE PPOFILE VIEW COMPOSITE SHOT COMPLETE RESULT MODEL SUPPORT Fig. 69. — Diagram for combined trick model shot. 135