Graphics Reference
In-Depth Information
Figure 11.8
Adding a cutaway as a Connected clip.
5.
This would be a good time to add the shot of Katie walking toward camera while slipping into her dress-
ing gown.
Remember:
We need to include this for continuity reasons, so we may as well cover this part of
the action from this angle. We have two takes of this angle to choose from. Set the Event Browser's filter
pop-up menu to All Clips and watch Scene 12 Slate 64 Takes 1 and 3. As you can see, Katie has a few
activities that she has to perform before walking out the door. First, she gets out of bed; then she picks up
the camera; and finally, she grabs her dressing gown, ducking out of shot for a few seconds as she does so.
We need to use this angle so that we see her put on the dressing gown, but to include this whole section
would really slow down the pace of the scene. Luckily, we don't have to. We can simply cut to her approach
to the door, with the camera already in hand and the dressing gown partway on. Normally, this would result
in a
jump cut,
an abrupt cut between two shots that makes the onscreen subject appear to jump. Jump cuts
can be used intentionally (the most famous example being Jean-Luc Godard's
Breathless
[1960]), but most
of the time, they should be avoided. Jump cuts usually occur when the camera position and angle of two se-
quential shots only vary slightly (less than 30%) from each other. However, this isn't the case here and the
audience will surmise that the previous actions have simply happened off-screen.
Let's view the approach to the door from both takes to see which one we prefer. The framing in Take 3 is
much better, and the gown slips on quicker and with less fumbling than in Take 1, so that's the preferred
take. Switch the Event Browser's Filter pop-up menu back to Favorites and select Scene 12 Slate 64 Take 3.
Press E to append the clip to the end of the Primary Storyline.
The next section of the sequence shows Katie creeping across the top landing after Jason in an attempt to cap-
ture him on film. She reaches the end of the landing and sits on the steps to wind her camera as she waits for
him to reappear. This section is covered with the following clips:
•
Scene 14 Slate 47 Takes 2 and 3:
Two takes of a wide master that shows the entire action from one end of
the landing
•
Scene 14 Slate 41 Take 2:
A side view from the lower landing looking up at Katie as she peeks over the
banister to find Jason.
•
Scene 14 Slate 44 Take 2:
A point-of-view shot looking over the banister down to the hallway below.
