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l62 A PRACTICAL MANUAL OF SCREEN PLAYWRITING
possible for an actor playing twin parts not only to talk with himself but to cross his own image.
"Matte'* (masking) shots permit a budget-conscious producer to photograph an imposing edifice simply by building the lower part as an actual set while the upper section is painted on a frame of glass placed in front of the lens. More expensively produced "traveling matte" shots call for a highly involved system of matte cutouts graduated in size to accommodate human action in the scene.
By means of false perspective, an actor can appear to be walking a tightrope, although he actually is walking a plank to the edge of which a rope has been nailed. The camera is placed in such a position as to photograph only the rope without catching the plank.
Things can be made to appear or disappear simply by stopping the camera and then putting in or taking off whatever is involved in the "magical" effect.
In the picture Beyond Tomorrow, a ghost was seen to appear and then walk in the midst of a crowd of people. Yes, it was done with mirrors, as is the trick of photographing a single ship so that it becomes a whole fleet of ships which, when photographed with a split screen, could become the fleets of two opposing forces.
These are but a few of the tricks the camera can perform. There are many, many more. But most of them are carefully guarded secrets. Studios do not want competitors to profit from them and they also fear that by informing the general public of them audiences will not accept them as real, and thus lose interest.
Process screen shots
It would be appropriate, at this point, to discuss the manner in which the process (or rear-projection) screen can be integrated into motion picture production, and into screen-play writing considerations.
The process screen is a large, single piece of translucent plastic material, averaging about i2'xi6', with brass grommets around its four edges, which are used for lashing the screen onto a huge wooden frame.