cated, photoplay terminology is, even yet, only in
process of formation. The terms given and defined in Chapter III are
the terms in common daily use in the majority of studios, but there
is no ancient precedent to compel any writer to adhere to any of
these terms if he is in the habit of using others. There is too great
a disposition on the part of amateur writers to split hairs over the
correct technical term. A matter of far more importance is to turn out
a good story.

_14. Camera Tricks and Special Effects_

With the way most trick-effects are produced in the studio the average
writer need be little concerned except as a matter of interest.[19]
The object of discussing them here is to show how certain plots, or
parts of plots, are made possible as a result of knowing how these
things _may_ be accomplished, whereas without this knowledge the
writer with a good idea might fear to include it in his story in the
belief that it was impossible of production. It may be remarked that
what is said here has a bearing on Chapter XV, in which is discussed
the matter of expense in picture production. Some of the very
companies who a few years ago were warning the beginning writer
against introducing action that would necessitate too great an outlay
of money are today producing features seemingly regardless of expense.
Yet most concerns are really exercising a wise economy and getting
some wonderful results with cleverly planned trick-camera work.

[Footnote 19: See Homer Croy's _How Motion Pictures Are Made_.]

For example, in one episode of the Wharton serial, "The Eagle's Eye,"
the German conspirators in New York, seeking to injure the cause of
the Allies and lay the blame on the American 'longshoremen at the same
time, arrange to have a train of freight cars, crossing on barges from
Manhattan to Jersey, dumped into the North River by removing the means
by which they are held in place on the tracks of the barge and
"letting 'em slide." The effect on the screen is wonderfully like what
a long-range photograph of such an actual event would show. All that
was needed to produce the scene was a tank of water with a miniature
barge pushed along by a tiny tug-boat, the latter steaming up very
realistically. When the toy barge and tug-boat were right in the
middle of the "stage," three or four toy freight cars were allowed to
slide off into the water. Above the tank, as a background, was hung
some white or light colored cloth,