Learning Event 3: Use Cut-ins and Cutaways

Filming Controlled Action
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Learning Event 3:

USE CUT-INS AND CUTAWAYS

Accepting the premise that the motion picture or television audience has

difficulty in recalling more than one scene immediately preceding that which is

currently being screened (a fact which the reader may personally check) the

cameraman may insert a special scene (or even entire sequences), between two scenes

which otherwise, following in rapid succession, would interrupt story continuity.

These scenes of slight, yet important, differences intended to divert audience

attention are classified as either "cut-ins" or "cutaways".

Cut-ins.

a. A technique for maintaining continuity and bridging gaps in action is that

of shooting a cut-in. As the name implies, the cut-in cuts into the action taking

place and is usually a closeup or extreme close-up.

In a sequence showing two

people meeting, a close-up of their handshake is a cut-in.

If your subject is

packing for a vacation, and you wish to show how well-traveled he is, an extreme

closeup of hotel labels on his bag constitutes a cut-in.

(1) For another illustration; suppose you are filming an Armed Forces radio

and TV public service announcement that uses a golf game as the theme.

The

highlights of the action in a golf game are the drives, the various approach shots,

and, of course, the putts.

Then, walking is part of the game, but it would be

ridiculous to try to show it all because you and the audience would be bored.

Here's where the cut-in technique can make an interesting sequence out of one that

would otherwise be unbearable. Your cut-in could be the shot shown in Figure 2-3.

(2) The next scene of the series most likely would be another long shot

showing a continuation of the action.

The golfer might approach the ball, stop,

and sight the cup before making his putt. Another variation of the same technique

could be a cut-in filmed in slow motion of the club hitting the ball.

Or, you

could use a closeup of the golfer's grip on the handle of the club. Any number of

variations of the cut-in are possible.

b. Use your imagination, but do not overdo a good effect. Remember, a cut-in

does just that, it cuts into the action and must have been established in the

previous scene.