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.

A cutaway also can be used when you want to condense an extended flow of action; for example, if you start a sequence with a closeup shot of the time clock indicating 12 minutes left in the quarter, then cut to the primary action on the field for about 10 seconds, then cut back to the clock indicating 3 minutes left-the elapsed time of 9 minutes would be indicated to the audience.

An example of a cut-in is a close-up of one player's foot as he kicks the ball. This close-up could have been shot at any time; however, by inserting the cut-in into the film during editing, the audience feels that the kick actually happened during the game.

The difference between a cut-in and a cutaway is simple. When filming the football game, the camera operator went in and took a close-up of the kicker's foot as he kicked the ball. The operator of the camera cut-in to the action. However, when the camera operator shoots a close-up of a fan's foot kicking another fan who had been rooting for the wrong team, that is a cutaway, because it cut away from the primary action of the game. Cutaway shots represent secondary action. Cut-in shots represent primary action.

CONTROLLED ACTION

As the name implies, in controlled action you can control all aspects of a production. This includes actors, their actions, the set lighting, and sound recording, if any. You usually work from a well-developed script that includes all the details. If the actors speak, the dialogue is in the script. If the action is described by a narrator, the narration is in the script. If the film is silent, the titles appear in the script. Examples of controlled-action films include training films, some documentaries and historical records, and many publicity or recruiting films. Controlled action, motion-media productions are produced only by personnel with specialized C school or university training. As a nonspecialized Photographer's Mate, you will be faced with uncontrolled or semicontrolled action elements of a production or film.