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lOO A PRACTICAL MANUAL OF SCREEN PLAYWRITING
The long shot
The long shot is not necessarily a full shot, although, with it, the camera lens is also set at infinity and the angle is widened. It has effects similar to those of the full shot. It is used to show the subject or subjects in full length, but not necessarily in relation to the surrounding background locale.
When the subject is held in a long shot, the angle of the lens remains constant. But when the subject comes closer to the camera, it is necessary for the camera operator to "follow focus" so that the subject will continue in sharp focus on the screen.
Thus, when a subject is in a long shot, but when there is action in the foreground, much depends upon what is to be highlighted. If the foreground action is more important, then it will be in focus, while the background, long-shot action will go out of focus. It may be necessary to open a scene with the long-shot subject in focus at first, and then to change focus to bring out the reaction of a subject in the foreground.
This can be done by the operator's adjusting his focal length in the lens. Orson Welles has used this effect advantageously, especially by having the foreground subject come into the shot in an extreme close-up, while the background long-shot subject remains in focus, so that the action in both planes is also in focus. This is done by using a wide-angle lens— and with judicious lighting, at which Gregg Toland was a master— so that both the action up close and in the extreme background remain in sharp focus simultaneously. With this kind of "forced focus" or "shooting in depth" it is quite possible to see objects that are both 18 inches and 200 feet from the camera.
Here again the television screen-play writer should be extremely cautious. In the early days of television, when the ten-inch screen was the rule, the long shot was completely restricted. Nowadays, with home TV screens running to twenty inches or more, and with larger screens promised, the long shot has lost many of its pariah qualities. A few long shots— preferably of a medium-long qualitycan be injected into a half-hour script provided the action it covers is not too important to the story line. Also, screen definition in