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.
98 A PRACTICAL MANUAL OF SCREEN PLAYWRITING
The full shot
When it is necessary to show all the action in an entire scene, the full shot is resorted to. Thus, if an entire room is to be shown, or the complete action on a wide street, the full shot would be indicated.
The full shot is also referred to as an "establishing shot," which term should indicate its use: to establish in the audience, as a sort of frame of reference, the locale and the action in which closer, more detailed shots take place.
Every new set must be represented, either at the opening of the sequence of shots or very early in it, with an establishing, full shot. This is so because unless the audience is fully oriented to the place in which the action occurs, the full significance of the closer shots may not be realized.
In traditional film editing it is almost axiomatic to return to a full shot after a series of medium shots, close shots, and close-ups have been used, in order to re-establish the entire scene for the audience so that once again they may obtain a fuller understanding of what they have been seeing in detail when compared with the general action in the frame-of-reference, re-establishing shot.
The scenic full shot is peculiarly adaptable to Westerns, where it is often necessary to show violent action— as, for example, a chase on horseback— against a background of scenic beauty, such as a distant range of mountains, or a closer formation of foothills, towering rocks, gullies, and gulches.
The same effect can be gotten when a violent fight is in progress: by establishing first with a full shot of the room— if it is an interior fight— or the street; then by going in for closer shots of the fight for revelatory details such as chins being hit by fists, knockdowns, etc.; and then by re-establishing toward the end of the scene with a medium shot or another full shot.
Ordinarily— and especially in the cheaper-budgeted pictures— the full shots are taken at one angle, from only one camera setup, so that closer shots can be cut in by the film editor. But varying angles should be used, if time and money are not of the essence,