We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
possibilities without, for the moment, considering which is dramatically most apt.
Extent of Change in Image Size and Angle
Figure 2 shows a possible progression from a full shot to two alternative closer shots. It will be seen that the difference in size between a and b is very small, and that the pictorial composition of the two shots is almost the same. As a result a cut from a to b will be unsatisfactory. The spectator will witness only a very slight change in the image, and will be momentarily irritated by what will appear to him as a small but clearly perceptible shift. There will be insufficient contrast between the succeeding images to make the transition smooth. A cut from a to c, on the other hand, makes a quite distinct contrast : the composition of the two pictures is entirely different and there is no longer any question of a small shift in cutting from one to the other. The cut will therefore be smooth.
A similar example is provided by Figure 3. Here again, the cut from a to b brings about too small a change in image size to make it mechanically satisfactory ; if a cut to a closer shot is desired, then it must be to a considerably closer image, such as is illustrated in c.
Apart from this mechanical reason, there is another consideration which in both cases makes the cut from a to b unacceptable. Eyery^cut — this much we can insist on — should make a point. There must be a reason for transferring thTlpectatc^s'aTfeTitlon from one image to another. In the case of cutting from a to b the change is so small that the dramatic point the editor is trying to make is, apparently, not really worth making. No appreciable dramatic purpose can be served by cutting from a full shot {Figure 2d) to a slightly closer image which is cut off at ankle level (Figure 2b). The spectator will sense that nothing significant is being said by the cut and will therefore not accept it without irritation.
What is true of changes in image size is equally true of changes of angle permissible between two consecutive shots. Figure 4 shows a plan of camera set-ups in a transition from medium to close shot. In the diagram, a character stands facing the camera, in front of a rigid object on the set, say a standard lamp. From the first camera set-up we are asked to cut to a close-up. A cut from / to Ha brings on the screen a close-up in which the lamp is still in the same position relative to the character as it was in the 220