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THE FILMIC COMPONENTS 121
the set lights are fixed. This calls for other means of lighting— hidden lighting, side lighting, and specially devised overhead lighting —all time-consuming to set up and therefore quite expensive. But the results, as are to be noted in Citizen Kane, are worth the trouble and money.
Low-angle shooting can be a money-saving device for cheapbudget movie-house pictures and television films. To obviate building sets for exterior close shots, it is the common practice to set the camera low, shooting upward at the subject, with the sky as a backdrop. These shots can be made in the studio against a sky "eye" (cyclorama) , or on location, when the background does not match the action being photographed. This device is often resorted to for "pick-up" shots, required by the film editor to fill in certain sections of his cut film after the entire film has been shot.
In shooting special-effects miniature shots, a low-angle close-up can give what is actually a toy life-size proportions and feeling. Moving objects are made even more real by increasing the speed of the camera to thirty-two, forty-eight, or sixty-four frames per second.
High angle. The high-angle shot, conversely to the low-angle shot, reduces the height of the subject by foreshortening, and also slows down the action. In doing this, it subordinates the subject's importance and heightens that of his surroundings.
At the same time, the high angle plays a psychological trick on the audience. It gives them an illusion of godlike transcendence— of enjoying the spectacle of human beings making fools of themselves. Therefore, the action portrayed, which is to take precedence over the characters involved, must be important enough to warrant such treatment.
Although the high-angle shot loses in dramatic values because it de-emphasizes the subject, it should be indicated occasionally in a screen play, to give the film editor material for change-of-viewpoint cutting, and thus furnish him with the means of adding pleasing variety and pacing to shot sequences.
Side angle. Both the high and low-angle shots have a common deficiency— they tend to flatten out the picture so that it loses third dimensional roundness. This lack, however, can be supplemented by a judicious interweaving of side-angle shots which do possess a