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CHANGE YOUR ANGLE!
How a dozen different viewpoints will enliven even the simplest family filming subject
TAKE a simple family subject, we said to the photographer, and see how many angles you can picture it from. So he took coasting. And he followed a mother and her son around, and, at day's end, he was still shooting from new angles.
The point we'd like to make is that there are more angles to movie making than the eye level, full front viewpoint. Take a look at the up-angle which opens our sequence; in the movie, the action will be a pleasing diagonal movement from upper right to lower left. The second view, artfully composed off-center, establishes the locale, while the closeup is enlivened by a low camera.
The fourth scene deserves particular attention. No still
photographer in a hundred would have pictured his subjects from the rear. And yet, in our movie, this is an almost ideal viewpoint from which to catch the movement of the downhill slide. Scenes five and six, more orthodox in angle, round out the first action series.
But in the second series there are again interesting combinations of the unusual and the usual. Note the two opening reverse angles, with the strong impression of long trudging in the imaginative second. Three and four are effective action shots enhanced by low angles, while five ends the coasting with an interesting two-shot group. In the final scene, the sense of departure is measurably heightened by the down-angle viewpoint from the wall.
Photographs by George W. Serebrykoff