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 Directing
for the Cut
Change of Distance, Change of Angle, and
Action within the Scene
by George Avgerakis
...Continued
from Previous Page
Next, you shoot a medium 2-shot (M2) from 90 degrees to the “line.”
Depending on how you view the drama, this shot can be as close
(showing just the front halves of each actor’s face) or long,
showing the entire actors’ bodies. You decide. Shoot the entire
scene from beginning to end.
Here, you will begin to notice that slight variations may occur
between the master and this shot. These variations will continue
throughout the day. This is why adequate crews include a Script
and/or Continuity Person. These people watch each scene carefully
making sure that script, props and lighting match from take to
take.
The next shots will be OS shots (over-the-shoulder) and POV (point-of-view)
shots. POVs allow the unseen actor to take a break and feed the
onscreen actor lines from off camera. These six shots make up
your basic “coverage” shots. You needn’t shoot them all, but at
least three are required in order to provide the editor with enough
latitude to create an interesting scene.
After coverage shots, you always want to shoot “cutaways,” which
are like precious jewels to an editor. For instance, you absolutely
have to shoot a close-up of the hands slapping five. Ideally,
start and end this shot with an empty scene, allowing the hands
to enter the shot, slap and exit the shot. This gives the editor
maximum freedom in using this cutaway to match the wide-angled
shots.
Other cutaways that can enhance the edit (or save a scene if a
director made a mistake) are individual close-ups of each actor
listening and reacting to the other actor, as well as close-ups
of the actors’ hands or key props in the scene (like a gun, for
suspense).
Such cutaways would be necessary, for instance, for the editor
to get you out of the mistake of cutting across the line, because
the bad cut can be bridged by a close-up or hand shot, making
the sin completely forgiven. In fact, with adequate cutaway coverage,
you can actually forget the “line” rule entirely.
Once you’ve shot this exercise screen, get into the edit bay as
soon as possible – even during the shoot. Immediate reward for
doing things correctly (or punishment for a mistake) will cement
these lessons in your mind forever.
Once you’ve mastered this exercise, try more complex scenes, such
as two actors eating a meal (throw in a burning cigarette for
continuity challenges!), going through a door, or challenge of
challenges – dancing. Each challenge, if quickly taken to the
edit bay, will teach you more in one afternoon than a hundred
hours of classroom time.
This article may not be reprinted in print
or internet publications without express permission of StudentFilmmakers.com.
Photos may not be copied or reproduced.
Check out this article in the October 2006 print edition
of StudentFilmmakers magazine, page 32-34. Click here to get a copy of the October 2006
Edition, so you can read and enjoy all of the excellent articles
inside.
About the Author:
 George
Avgerakis is VP Creative Director of Avekta Productions, Inc.
in New York. He has directed for all of the major networks and
Fortune 500 clients. His books on how to start and run a media
business or animation studio are available on amazon.com, and
he will be a featured lecturer at the upcoming NY and Las Vegas
NAB events and the Foyle Film Festival in Ireland
Resources:
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