Movies for TV - Early Television Foundation

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THE PROGRAM ANGLE
Different shots and angles have varying rules governing their
use; some of these are given below.
Close-Ups Since close-ups are probably used more than any
other shot in television they have acquired a certain amount of
importance, and there is nothing
that is more effective than a
properly composed shot along these lines. It is instinctive for anyone
who looks at a picture to inspect the upper part first and
longest. It is the natural focus of the eyes. For this reason the most
important features of a close-up should be kept in the upper part
of the scene. This is usually done automatically since the size of
screen imposes limitations on the amount of detail that can be
included in a close-up. However, it sometimes happens that a
close-up of an object rather than a person is required;
importance of proper composition is more apparent.
Two-Shots and Close-Ups
then the
Two-shots are next to close-ups in
popularity for television work. The same rules apply to each type
of shot as far as hot lights and objects are concerned. Anything
that is very bright in front of the subject will distract the eyes and
reduce the time available for looking at the subject. One of two
things may happen; it is possible for the eye to become tired before
the scene is over so that it misses significant detail due to the
brilliance of the light, or due to closing of the eye because of the
bright light the scene seems to be too dark.
Although a definite, symmetrical division of a frame into two
pieces is not considered good practice it may be done in the case
of a two-shot where a lamp which is lit is in the background. In
between the actors.
this instance it may be placed so as to appear
But keep the depth of field great enough so that it is in focus as
well as the players. There is nothing more unpleasant to watch
than an out-of-focus bright light or hot spot; for some reason the
seems to be attracted to it.
eye
The background importance cannot be overstressed. The only
way to be sure that the actors do not put themselves into positions
where they can tie in with the decor is to see that there is no decor