Graphics Reference
In-Depth Information
framings throughout its running time (a moving shot of Katie through the rails, a medium shot of Katie examin-
ing the ball, and a medium shot of Jason's reactions), so realistically we have four angles and not two.
Let's see how we can use these in practice:
1.
The sequence starts with a moving shot that follows Katie's feet as she walks down the stairs and discov-
ers Jason's discarded ball in the hallway. The camera widens to include Katie as she kneels down to pick up
the ball and then pulls back to reveal Jason lurking in the shadows behind her. We have a choice of two
takes for this shot — Scene 17 Slate 24 Takes 1 and 4 — so let's take a look at both clips in the Event
Browser.
The camera that follows Katie in the first half of Scene 17 Slate 24 Take 1 moves faster than the actress and
soon gets ahead of her, unlike Take 4 where the camera moves along with Katie at the same pace. However,
we prefer Jason's reveal in the second half of Scene 17 Slate 24 Take 1 to the one in Take 4 because the act-
or's performance is better. He sneaks up on Katie more slowly in Take 1 and so is far more effective. This
shot was originally intended to play as one continuous take, but because we prefer two different halves of
each take, we need to make a decision on whether to keep the shot as one uninterrupted, but flawed, shot or
use the best parts from each take and separate the two with a cutaway. We decide to break up the continuous
shot and use the best sections from each take.
Set the Event Browser's Filter pop-up menu to Favorites, select Scene 17 Slate 24 Take 4 (first favorite) in
the Event Browser, and press E to append the clip to the Timeline. Next, select Scene 17 Slate 24 Take 1
(first favorite) in the Event Browser and append that clip also to the Timeline.
2.
Press +2 to make the Timeline the active window and play back the two clips. As expected, there is a
jump cut as the sequence goes from Take 4 to Take 1, but this can easily be remedied by adding a cutaway
shot between the two clips. Position the playhead at the start of the second clip in the sequence (this should
be at 12 seconds and 14 frames in the Timeline) and press +1 to make the Event Browser the active win-
dow. Let's see if we can find a section from another clip to use as a cutaway. We only have one other angle
that we can choose from (the medium shot on Katie), but we just need a short segment of Katie picking up
the ball from this angle to cover the jump cut in our sequence.
Set the Event Browser's Filter pop-up menu to All Clips and select Scene 17 Slate 25 Take 2. Make a selec-
tion from the start of the clip to 08:00, and press W to insert the section between the two clips in the
Primary Storyline.
3.
Play back what we have so far in the sequence. Obviously some trimming of the top and tail of Scene 17
Slate 25 Take 2 is needed, but this can be done easily with a simple Ripple edit on each side of the clip.
Select the In point for Scene 17 Slate 25 Take 2, and drag to the right for 3 seconds and 21 frames. Next, se-
lect the Out point for Scene 17 Slate 25 Take 2, and drag to the left for 2 seconds and 9 frames (see Figure
12.2). Scene 17 Slate 25 Take 2 should now end at 14 seconds and 9 frames in the Timeline. Press the
Home key to go to the beginning and play the sequence.
