HOW-TO

Check out this article in the print edition of StudentFilmmakers Magazine, October 2006. Click here to get a copy and to subscribe >>

Back Edition Spotlight: October 2006, StudentFilmmakers MagazineDirecting for the Cut
Change of Distance, Change of Angle, and Action within the Scene

by George Avgerakis

...Continued from Previous Page

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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.

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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 AvgerakisGeorge 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

 

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