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THE FILMIC COMPONENTS 12$
the boom shot is time-consuming, requires a special boom crew, a vast amount of planning, intricate lighting arrangements, many and long rehearsals, and a number of n.g. takes in order to obtain an acceptable one.
Even in a picture in which the budget can afford the boom (unless it is a musical extravaganza, in which a plethora of boom shots is the accepted mode) it is advisable to keep these shots down to an absolute minimum. One or two, at the most, can supply sufficient visual high spots to serve as toppers for a group of sequences; repetition waters down their effectiveness. In television films, the boom is an unfortunate casualty.
The high spot in the British film The Girl Was Young came when the camera, on a boom, searched out the dinner club after the heroine entered to look for the missing drummer. After skimming over the heads of dancers, going on to diners at their tables, and taking in the orchestra, it finally went in for a close-up on the missing drummer. The effect was almost breath-taking; the audience was made to feel with the heroine, to experience the same indecision, the same hopelessness and, finally, the same joy at finding the missing man.
Avoid too many unusual angles. It is with unusual angles that a cameraman can really go to town, photographically speaking. At the same time, a succession of unusual angles can be proportionately stultifying. For, as in all the arts, and in motion-picture work especially, the techniques must never be permitted to become obvious. Unusual camera angles have a way of calling attention to themselves almost stridently, because of their unusual, off-thebeaten-track nature.
The camera angle must not be so unusual in itself as to become an attention focal point. Instead, it should flow smoothly from a previous build-up of camera angles, and just as smoothly flow into a following sequence of camera angles.
There must always be an understandable reason for using an unusual camera angle. The tilted-angle shot in Brief Encounter is a case in point. Also, the camera angle must stem out of the mood and nature of the shot and scene. A good camera angle should call attention not to the angle itself, but to the action which it is presenting.