We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
MOTION PICTURE PHOTOGRAPHY
the long shot. A very short piece before and after the spoken title will accomplish this purpose and add very little to the footage. If a close-up is not available and the spoken title is essential to the scene then write it so that the audience may be sure which person speaks.
In writing sub-titles and also in cutting a picture keep the audience constantly in mind. Try to work from the point of view of the person who is going to look at your picture. Remember that the people seeing the picture but once will not be as familiar with it as those who have run it over and over while working on it, and that the public may not catch the fine points that have become quite familiar or obvious to you.
While a certain amount of latitude in language is allowable in spoken titles, captions should be written in good English and be correct grammatically. Study, analysis, judgment and experience are as necessary in writing good sub-titles as in any other department of picture production. Ability to write stories, adr vertising copy, letters or other forms of composition does not necessarily imply qualification to write satisfactory sub-titles.
ASSEMBLING — The most difficult part of the producing of a motion picture is the cutting and assembling of the print. Hundreds of directors are producing pictures which are really made in the cutting departments. If a director is a good film cutter and can follow the action of his picture on a pair of rewinders, the producer has something to be thankful for.
Directors who can cut their own pictures are few and far between. D. W. Griffith, Thomas Ince, Edwin Carew, George Tucker and Edgar Lewis are a few great directors who cut their own pictures, but it has taken them years to master this art.
The majority of directors make a child or a pet of pictures. To them the eliminating of this episode or that unnecessary scene is like cutting off the fingers or arms of a child.
If only directors would realize that a comedy situation is over after the laugh and a dramatic situation, after the suspense, and would bring the scene to a close, pictures would be easier to cut.
The use of close-ups in the midst of dramatic action is a mistake made by many directors.
In a certain picture a woman was roughly thrown to the floor and as the man's hand grasped her, the director cut to a close-up of the woman, thereby losing all the dramatic value and suspense of the scene.
204