In the past few years, the number of scenes to the reel has been
almost doubled, in most studios; and this is due to the increased use
of the close-up. The bust and the close-up are entirely separate in
their utility and effect, yet, properly used, each has been found a
valuable addition to the technical devices of photoplay construction.
It is now frequently the practice of many directors to bring the
camera nearer to a certain character, or group of characters, at some
important point of the action for the sake of emphasizing facial
expression or certain bits of "business" that are vitally essential to
a proper understanding of the plot.
This may be accomplished in three different ways--the method employed
always depending upon the nature of the scene as well as of _the
setting or location_. First, if the surroundings of the character at
that stage of the action are important as having something to do with
the "business" being carried out--if, for example, it is necessary to
show, at close range, the actions of two characters who are seated at
a table--the director has the camera moved down toward them, and that
particular close-up, or series of close-ups, is taken usually, as has
been said, after all the wide-angle scenes in that setting have been
"done," for the obvious purpose of rendering unnecessary the frequent
shifting of the camera.
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