{"schema":"record/v1","id":"art_01M5MYX2QC913J4WF56CZ8WYBB","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How does Sargent (1916, Ch. XXXVIII) say to write a close-up in a script: numbering, wording, what to leave to the director, and what about a moving (truck) close-up?","summary":"1916 practice: a close-up is its own numbered scene because the action and the turning of the camera stop while the camera is brought to the new position. The entry reads 'Close-up of [subject] -- action -- action', often alternating with 'Big scene' entries that name the wide action again. The writer asks for the close-up but does not say where the camera stands ('no compass bearings'): the director sees the actual scene and places it. A gradual-enlargement close-up on a camera truck is rare and mostly trick work, so write the straight close-up and let the director substitute the truck.","status":"active","body":{"text":"1916 practice: a close-up is its own numbered scene because the action and the turning of the camera stop while the camera is brought to the new position. The entry reads 'Close-up of [subject] -- action -- action', often alternating with 'Big scene' entries that name the wide action again. The writer asks for the close-up but does not say where the camera stands ('no compass bearings'): the director sees the actual scene and places it. A gradual-enlargement close-up on a camera truck is rare and mostly trick work, so write the straight close-up and let the director substitute the truck.\n\nCurator qualifications: Close-up definition, jobs, numbering as separate scenes, cautions and the bounded 'no ratio' negative are verified as Sargent's text. The density figures in -04 are counts of his own printed examples.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","note":"sar.flat (a3cff7eb) ch. XXXVIII offsets per candidate"}]},"categories":["T01","T02","T03"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"1916 practice: a close-up is its own numbered scene because the action and the turning of the camera stop while the camera is brought to the new position. The entry reads 'Close-up of [subject] -- action -- action', often alternating with 'Big scene' entries that name the wide action again. The writer asks for the close-up but does not say where the camera stands ('no compass bearings'): the director sees the actual scene and places it. A gradual-enlargement close-up on a camera truck is rare and mostly trick work, so write the straight close-up and let the director substitute the truck.","locator":"sar.flat (a3cff7eb) ch. 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The entry reads 'Close-up of [subject] -- action -- action', often alternating with 'Big scene' entries that name the wide action again. The writer asks for the close-up but does not say where the camera stands ('no compass bearings'): the director sees the actual scene and places it. A gradual-enlargement close-up on a camera truck is rare and mostly trick work, so write the straight close-up and let the director substitute the truck.\n\nCurator qualifications: Close-up definition, jobs, numbering as separate scenes, cautions and the bounded 'no ratio' negative are verified as Sargent's text. The density figures in -04 are counts of his own printed examples.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","note":"sar.flat (a3cff7eb) ch. XXXVIII offsets per candidate"}]},"tags":[],"type":"article","links":[],"title":"How does Sargent (1916, Ch. XXXVIII) say to write a close-up in a script: numbering, wording, what to leave to the director, and what about a moving (truck) close-up?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"1916 practice: a close-up is its own numbered scene because the action and the turning of the camera stop while the camera is brought to the new position. The entry reads 'Close-up of [subject] -- action -- action', often alternating with 'Big scene' entries that name the wide action again. The writer asks for the close-up but does not say where the camera stands ('no compass bearings'): the director sees the actual scene and places it. A gradual-enlargement close-up on a camera truck is rare and mostly trick work, so write the straight close-up and let the director substitute the truck.","evidence":{"claims":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"1916 practice: a close-up is its own numbered scene because the action and the turning of the camera stop while the camera is brought to the new position. The entry reads 'Close-up of [subject] -- action -- action', often alternating with 'Big scene' entries that name the wide action again. The writer asks for the close-up but does not say where the camera stands ('no compass bearings'): the director sees the actual scene and places it. A gradual-enlargement close-up on a camera truck is rare and mostly trick work, so write the straight close-up and let the director substitute the truck.","locator":"sar.flat (a3cff7eb) ch. 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