Home Video Hints: Shooting to Edit - 5 Tips for Success (page 2)

3) Also known as "cover" shots, cutaways are shots of people, inanimate objects and atmospheric details surrounding a video outing. For example, if taping a wedding, it's a good idea to get some stray shots of people in the aisles, flowers, exteriors of the church, stained glass windows, a gift table and other images associated with the marriage. These become invaluable in editing when you need to cover up a mistake or awkward transition between scenes. Watching the entire wedding party make their way to the altar can quickly bore an audience. Cutaways allow you to maintain viewer interest by breaking up this interminably long sequence with interesting details of the big day. Vary the angle and framing of cover shots for even more latitude in the editing room. A series of straight medium shots is tedious. Why not throw in a tight close-up, low-angle, swish-pan or rapid zoom? All of these cover-shots are ideal solutions to continuity and screen direction errors.

4) Continuity with regard to video means the appearance of atmosphere, wardrobe, talent and style remains continuous throughout the program. If your actor has a sombrero on in the first shot of a sequence, he must be wearing the hat when the camera returns to him later. This becomes especially challenging in dramatic shoots that extend over a long period of time. Try taking Polaroid photos of non-permanent sets. The visual record allows you to replicate the scene with exacting precision at a later date. Do the same with talent. Hair length, make-up and clothing are all troublesome to continuity. Button popping is a very common continuity error in major Hollywood films. Another idea - log shot detail while you record. In addition to helping with continuity, a shot list assists when it comes time to cut the tape.

5) As you shoot any moving object (human or otherwise), make sure it is always moving in the same direction with regard to the viewer. A speeding train crossing the screen from right to left must be moving from right to left in successive shots. Otherwise it will appear as if the train is returning from where it came, or that two trains are on a collision course.

Crossing sight lines within conversation scenes also jars the viewer by disrupting flow. A "reverse" sequence features the first subject on the right-hand side of the screen, speaking and looking toward the left. When you cut, or reverse, to the second person, they must be on the left, addressing the right-hand side of the screen. If not, it will look like both people are speaking to some unknown third person.
When shooting an over-the-shoulder conversation, keep the listener's body slightly within each shot. This establishes a point of reference toward which the speaker can direct his dialogue. It's a popular technique because the method keeps both actors within the whole scene, even though you only really see one at a time.

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