ABSTRACT
Two technical, non-acting requirements are ever present, and they can be counterproductive. First is the need to "hit the marks" accurately—to stay within the range of the key lights. The director sets up his camera for the positions and movements that will most effectively capture the players' reactions and the mood of the scene. The second necessary adjustment may be even more difficult. The actor must learn to limit his field of attention. He must black out the presence of the camera and the crew. This is made somewhat easier for him by an obligatory convention; off-the-set lights are usually extinguished, leaving everything except the set in darkness. The camera is a powerful telescope; just try to estimate the relative size of a normal close-up on a wide screen. The director places himself close to the camera or even under it. This enables him to see the scene from the camera's point of view and serves to diminish his visibility.
