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THE FILMIC COMPONENTS 119
The angles
To write a complete shooting script, the screen-play writer must not only be able to call the shots, but he must, in addition, know all the angles.
A motion-picture camera can show the audience not only what to see but also how to see it. In the main, it is the angle at which the camera photographs the shot that determines how the shot is to be viewed.
At the same time, though, the camera angle is determined by certain factors implicit in the screen play. These factors must be taken into consideration by the writer. For, with them, he is able to add to the general mood of the picture, increase or decrease the tempo, affect the rhythm, and intensify the dramatic impact.
One important rule must be noted here in the use of camera angles: Always change the camera angle or image size when moving from one shot to another.
Eye-level angle. One of the angles at which most scenes are viewed in real life is from head-on eye level. To reproduce this effect, the camera should be from four to six feet from the ground. Because it is a normal viewpoint, it is comparatively lacking in dramatic qualities. In spite of this, it is often used as a frame of reference angle in order to serve as a contrast to the other unusual angles.
When building for montage, where it is necessary to have something from which to build, the eye-level angle is ideal. These shots would, of necessity, occur in scenes that serve as transitions between more dramatic scenes. Expository scenes can be shot at eye level. In fact, any shot in which the general premise of mood and dramatic quality are more or less static can be carried by the camera set at sye level.
When the eye-level angle is used in a head-on shot, in which speeding action advances a vehicle or person head on into the camera, the effect can be electrifyingly dramatic— as when a train rushes headlong into the camera, or when a character hurtles into the camera as though lunging for an opponent.