The research material was recopied and a time code was added. Shots [1] , shot sizes [2](Figure 1), number of people, and depth of the images were recorded in seconds. The change in any of these variables always started a new line in the protocol. This method created the protocol body. Camera and person movements were added to this body. Movements of the persons in multiple shot sizes and / or shots were combined in the analysis. Incomplete imaging of moving persons was recorded (cutting [3] to a moving person, cutting off from a moving person, and a person leaving or entering the image without the viewer knowing where that person came from or where he / she left to).
The movements of the persons were measured in steps and were divided into four main directions: towards or away from the camera and right-left. Each of the main directions consisted of a 90-degree sector. Cued movements that were discernible outside the image were recorded. In the English version the background movements (restaurant guests and waiters serving them) were distinguished from movements directly related to the events (main characters and waiters serving them). The depth of the image was measured in meters from the point closest to the camera to the background. Camera movements as well as tracking movement with the camera were recorded in seconds.
FIGURE 1. Shot sizes: ECU=extreme close-up, CU=close-up, MCU=medium close-up, MS=medium shot, LMS=long medium shot, FS=full shot, LS=long shot.
The analysis of the results follows the path of previous studies (Strømnes et al., 1982) . Thus, the following items were selected for analysis:
- Shot sizes (frequencies and time distributions)
- Change in the size of the image in shot change (shot change distance)
- Time used for depths and frequencies of depths
- Camera following movement
Several things were analyzed about the movements of people:
- Movements in one shot size
- Movements in several shot sizes
- Interrupted movements
- Indirectly indicated movements (cued movements)
- Movements of supporting actors (English version)
- Movements according to direction and length
According to the research hypothesis, the English version should give a clear picture of the play’s space and the actors’ locations in it should be always discernible, the depth of the picture should be greater than in the Hungarian one, and the camera should follow the movements of the actors more actively than in the Hungarian version. The number of interrupted movements should be much lower in the English version than in the Hungarian version. The Hungarian version should show a clear focus on the individuals and the relationships between them, rather than the description of the movement. Differences should be reflected in the use of the different imaging techniques. The results of these analyses will be discussed in the following posts.
[1] A shot is the episode filmed by one camera at one time.
[2] Shot size, like other technical classifications used, is borrowed directly from cinema and television production, and is used in their generally accepted sense, unless otherwise stated.
[3] A cut is an instantaneous exchange of the camera.
REFERENCES
Strømnes, F.J., Johansson, A. & Hiltunen, E. (1982) The externalised image. A study showing differences correlating with language structure between pictorial structure in Ural-Altaic and Indo-European filmed versions of the same plays. Helsinki: The Finnish Broadcasting Corporation, Report No. 21