Basic Photography Course

A cutaway also can be used when you want to

condense an extended flow of action; for example, if you
start a sequence with a closeup shot of the time clock
indicating 12 minutes left in the quarter, then cut to the
primary action on the field for about 10 seconds, then
cut back to the clock indicating 3 minutes left-the
elapsed time of 9 minutes would be indicated to the
audience.

An example of a cut-in is a close-up of one player's

foot as he kicks the ball. This close-up could have been
shot at any time; however, by inserting the cut-in into
the film during editing, the audience feels that the kick
actually happened during the game.

The difference between a cut-in and a cutaway is

simple. When filming the football game, the camera
operator "went in" and took a close-up of the kicker's
foot as he kicked the ball. The operator of the camera
cut-in to the action. However, when the camera operator
shoots a close-up of a fan's foot kicking another fan who
had been rooting for the wrong team, that is a cutaway,
because it cut away from the primary action of the game.
Cutaway shots represent secondary action. Cut-in shots
represent primary action.

CONTROLLED ACTION

As the name implies, in controlled action you can

control all aspects of a production. This includes actors,
their actions, the set lighting, and sound recording, if
any. You usually work from a well-developed script that
includes all the details. If the actors speak, the dialogue
is in the script. If the action is described by a narrator,
the narration is in the script. If the film is silent, the titles
appear in the script. Examples of controlled-action films
include training films, some documentaries and
historical records, and many publicity or recruiting
films. Controlled action, motion-media productions are
produced only by personnel with specialized "C" school
or university training. As a nonspecialized
Photographer's Mate, you will be faced with
uncontrolled or semicontrolled action elements of a
production or film.

UNCONTROLLED ACTION

In a controlled-action situation, everything is

normally written in the form of a detailed shooting
script. Predictable filming is performed and there are
few crises, except the occasional human oversights and
mechanical malfunctions.

The other world of motion-video recording

(uncontrolled action) is full of crises and surprises.

Success primarily is due to good reflexes, accurate
guesswork, and quick thinking. Careful planning is not
the most significant factor. Most of your motion-media
assignments will be uncontrolled or semicontrolled
action.

Your success as a maker of uncontrolled-action

films depends on your knowledge of the capabilities and
operation of video equipment. You must also possess a
high level of technical skill. There is neither time nor
opportunity for research or practice while doing this
kind of assignment. You must be prepared in advance.
News, sports, special events, and on site-coverage of
ongoing activities make up the bulk of this type of
assignment. Another class of uncontrolled action is the
documentation of events that follow a known course or
pattern, such as parades and ceremonies. These are
called semicontrolled, because you know in advance
approximately what is going to happen, even though you
cannot influence it for recording purposes. Both types
of assignments are challenging, exciting, and usually
welcomed by confident camerapersons. But, they can be
"unfortunate experiences" for those not properly

prepared to cope with them.

PREPARATION FOR FILMING
UNCONTROLLED AND
SEMICONTROLLED ACTIONS

Obviously you cannot develop a specific, detailed

plan for shooting uncontrolled or semicontrolled action.
You must get as much information about the assignment
as possible and in as far in advance as possible. This
information helps to provide an estimate of

requirements for equipment, supplies, scheduling of
personnel, transportation, camera positions, lighting,

and other technical details.

Whenever you are assigned to cover VIP arrivals,

award presentations, or special events, you should

immediately contact the person or agency in charge of
the project. This person is usually the public affairs
officer (PAO). The PAO can furnish you the full scope
of your assignment and provide the following basic
information:

Name and rank or title of the person(s) involved

Place and time of arrival

Complete schedule of activities

When possible, you should personally inspect the

location and route of the proposed action (site survey).
If this cannot be done, try to get drawings, maps, plans,
or photographs of the area. Eyewitness descriptions or

13-21

contents

Basic Photography Course

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DOFMaster for Windows On-line Depth of Field Calculator DOFMaster for Mobile Devices On-line Depth of Field Table Hyperfocal Distance Chart Articles FAQ Recommended Books Support Contact Links Home As an Amazon Associate I earn from qualifying purchases.	contents <- previous page next page -> A cutaway also can be used when you want to condense an extended flow of action; for example, if you start a sequence with a closeup shot of the time clock indicating 12 minutes left in the quarter, then cut to the primary action on the field for about 10 seconds, then cut back to the clock indicating 3 minutes left-the elapsed time of 9 minutes would be indicated to the audience. An example of a cut-in is a close-up of one player's foot as he kicks the ball. This close-up could have been shot at any time; however, by inserting the cut-in into the film during editing, the audience feels that the kick actually happened during the game. The difference between a cut-in and a cutaway is simple. When filming the football game, the camera operator "went in" and took a close-up of the kicker's foot as he kicked the ball. The operator of the camera cut-in to the action. However, when the camera operator shoots a close-up of a fan's foot kicking another fan who had been rooting for the wrong team, that is a cutaway, because it cut away from the primary action of the game. Cutaway shots represent secondary action. Cut-in shots represent primary action. CONTROLLED ACTION As the name implies, in controlled action you can control all aspects of a production. This includes actors, their actions, the set lighting, and sound recording, if any. You usually work from a well-developed script that includes all the details. If the actors speak, the dialogue is in the script. If the action is described by a narrator, the narration is in the script. If the film is silent, the titles appear in the script. Examples of controlled-action films include training films, some documentaries and historical records, and many publicity or recruiting films. Controlled action, motion-media productions are produced only by personnel with specialized "C" school or university training. As a nonspecialized Photographer's Mate, you will be faced with uncontrolled or semicontrolled action elements of a production or film. UNCONTROLLED ACTION In a controlled-action situation, everything is normally written in the form of a detailed shooting script. Predictable filming is performed and there are few crises, except the occasional human oversights and mechanical malfunctions. The other world of motion-video recording (uncontrolled action) is full of crises and surprises. Success primarily is due to good reflexes, accurate guesswork, and quick thinking. Careful planning is not the most significant factor. Most of your motion-media assignments will be uncontrolled or semicontrolled action. Your success as a maker of uncontrolled-action films depends on your knowledge of the capabilities and operation of video equipment. You must also possess a high level of technical skill. There is neither time nor opportunity for research or practice while doing this kind of assignment. You must be prepared in advance. News, sports, special events, and on site-coverage of ongoing activities make up the bulk of this type of assignment. Another class of uncontrolled action is the documentation of events that follow a known course or pattern, such as parades and ceremonies. These are called semicontrolled, because you know in advance approximately what is going to happen, even though you cannot influence it for recording purposes. Both types of assignments are challenging, exciting, and usually welcomed by confident camerapersons. But, they can be "unfortunate experiences" for those not properly prepared to cope with them. PREPARATION FOR FILMING UNCONTROLLED AND SEMICONTROLLED ACTIONS Obviously you cannot develop a specific, detailed plan for shooting uncontrolled or semicontrolled action. You must get as much information about the assignment as possible and in as far in advance as possible. This information helps to provide an estimate of requirements for equipment, supplies, scheduling of personnel, transportation, camera positions, lighting, and other technical details. Whenever you are assigned to cover VIP arrivals, award presentations, or special events, you should immediately contact the person or agency in charge of the project. This person is usually the public affairs officer (PAO). The PAO can furnish you the full scope of your assignment and provide the following basic information: Name and rank or title of the person(s) involved Place and time of arrival Complete schedule of activities When possible, you should personally inspect the location and route of the proposed action (site survey). If this cannot be done, try to get drawings, maps, plans, or photographs of the area. Eyewitness descriptions or 13-21 contents Basic Photography Course <- previous page next page ->	As an Amazon Associate I earn from qualifying purchases.
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