Cut-In and Cutaway Shots

302.215 Figure 13-14.–To maintain static screen direction, do not cross the action axis with a camera. direction, the camera operator must remain on one side of the action axis (fig. 13-14). CUT-IN AND CUTAWAY SHOTS In filming uncontrolled action, it is almost impossible at times to film overlapping action. This is where cut shots come into play. Cut shots are extremely valuable because they provide a form of audience distraction In addition, the cutaway can account for lapses of time and stimulate audience interest; therefore, if you shoot plenty of cutaways and cut-ins, you have passed a major stumbling block in shooting uncontrolled action. Shooting a football game is a good example of uncontrolled action; but can you imagine how boring it would be if there were no cutaways or cut-ins? An audience would soon get tired of seeing nothing but football plays. By using different scenes, you can show just the highlights of the game and the audience will go away satisfied, feeling that they have seen the entire game. Cut-ins and cutaways are related to the primary subject or action. They show something that may or may not have occurred simultaneously with the primary action. Both cut-ins and cutaways fill gaps between scenes where the action does not match. The use of cut-ins and cutaways can account for a lapse of time or they are used to create or enhance the mood of a film. Cutaway shots are scenes that “cut” away from the action. Crowds, cheering fans, cheerleaders, and side- line action are all examples of cutaway shots. Ideally, cutaways should smooth out the continuity of the film, so the audience does not realize that some of the action that took place on the field has been removed from the film. 13-20