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THE FILMIC COMPONENTS l6l
Special effects are almost invaluable in shooting fantasy films, in which people seem to disappear, or walk through solid walls, and so on.
But special effects is a costly procedure and the screen writer should confer with his producer before indicating them in his script. They should seldom be used in cheap-budget movie-house pictures or in television films where, in addition to an absence of inclement weather, there are seldom any violent catastrophes— unless they can be obtained from stock footage.
Such effects as lightning flashes, storm clouds, moon and cloud combinations, shipwrecks, auto crashes, lava flow, earthquakes, floods, and train wrecks— together with the multitude of other catastrophes with which a story character can be bedeviled— can usually be found in stock film libraries. With clever work, a film editor can intercut them with production shots so that the desired effect can be obtained. Unless you can screen this stock footage, and thus become acquainted with what is available, it is best merely to indicate that stock footage is to be used without going into too much detail as to how it should be intercut with the production shots you write in.
Television films can use a great deal of stock footage to lower production costs. The writer of this type of picture could make himself quite desirable and appreciated were he to acquaint himself with the types and sources of available and appropriate stock footage and indicate them in his screen play.
Camera tricks. The motion-picture camera can be called upon to play any number of tricks for the screen-play writer— tricks that may solve writing problems that would otherwise cause a good idea to be discarded. It is well to assume, then, that the camera— manned, of course, by a highly versatile crew of skilled technicians— can do anything. It practically turned somersaults when it was locked, upside down, to a revolving floor, to record the effect of Fred Astaire's dancing on the ceiling.
The camera can be made to photograph supposed underwater scenes (for budget pictures) simply by sliding a pair of specially lighted gauze screens in front of its lens.
Image distortion can be achieved by pouring a thin film of oil down over a piece of glass placed in front of the lens.
Multiple exposure or process-screen photography can make it