In a controlled-action situation, everything is normally written in the form of a detailed shooting script. Predictable filming is performed and there are few crises, except the occasional human oversights and mechanical malfunctions.

The other world of motion-video recording (uncontrolled action) is full of crises and surprises.

Success primarily is due to good reflexes, accurate guesswork, and quick thinking. Careful planning is not the most significant factor. Most of your motion-media assignments will be uncontrolled or semicontrolled action.

Your success as a maker of uncontrolled-action films depends on your knowledge of the capabilities and operation of video equipment. You must also possess a high level of technical skill. There is neither time nor opportunity for research or practice while doing this kind of assignment. You must be prepared in advance. News, sports, special events, and on site-coverage of ongoing activities make up the bulk of this type of assignment. Another class of uncontrolled action is the documentation of events that follow a known course or pattern, such as parades and ceremonies. These are called semicontrolled, because you know in advance approximately what is going to happen, even though you cannot influence it for recording purposes. Both types of assignments are challenging, exciting, and usually welcomed by confident camerapersons. But, they can be unfortunate experiences" for those not properly prepared to cope with them.

PREPARATION FOR FILMING UNCONTROLLED AND SEMICONTROLLED ACTIONS

Obviously you cannot develop a specific, detailed plan for shooting uncontrolled or semicontrolled action. You must get as much information about the assignment as possible and in as far in advance as possible. This information helps to provide an estimate of requirements for equipment, supplies, scheduling of personnel, transportation, camera positions, lighting, and other technical details.

Whenever you are assigned to cover VIP arrivals, award presentations, or special events, you should immediately contact the person or agency in charge of the project. This person is usually the public affairs officer (PAO). The PAO can furnish you the full scope of your assignment and provide the following basic information:

Name and rank or title of the person(s) involved

Place and time of arrival

Complete schedule of activities

When possible, you should personally inspect the location and route of the proposed action (site survey). If this cannot be done, try to get drawings, maps, plans, or photographs of the area. Eyewitness descriptions or pictures of similar events also may be helpful. Ask questions about the location of the subject, the type and direction of movement, and the sequence of actions to be recorded.

With this information, you can draft a rough plan. By working closely with the project officer, you should be kept reasonably well informed and can arrange your shooting in a logical order. Be careful, however, not to plan yourself into a trap. Expect last minute changes

in your plan, and, therefore, keep alternative plans in mind and ways they can be put into effect quickly.

Next, determine shooting requirements and the number of cameras and people you need. Check probable camera locations for the long, medium, and closeup shots. Determine the amount of tape you require, and consider the possibility of some unplanned requirements. Determine whether you will need transportation and additional equipment.

A hypothetical assignment: The lab has received the following orders: The Chief of Naval Operations and his party are expected to arrive aboard your ship tomorrow. The flag requires complete photographic coverage of all official activities of the CNO and his party while on the ship. The division chief has assigned you to cover the motion media.

After you check with the officer in charge of the event, you find that the CNO and his party are expected to arrive by aircraft at 1300 hours. The party consists of the Chief of Naval Operations and three aides. The purpose of this visit is to inspect the ship and to present several awards. The CNO and his party plan to depart at 1700 the same day.

With this information you can now plan your shooting outline. In an event of this kind, you cannot expect to stage or control many shots.

The following shooting outline is an example of what you might come up with:

Scene 1: Aircraft (A/C) with CNO landing.

Scene 2: Side boys, flag officer, and CO on deck in front of island.

Scene 3: A/C taxies to island.

Scene 4: CNO's party disembarks A/C.

Scene 5: Flag officer and CO greet CNO.

Scene 6: CNO inspects side boys.

Scene 7: LS, MS, and CU of CNO presenting awards.

Scene 8: CNO makes speech

Scene 9: CNO and party tour ship.

Scene 10: CNO and party return to A/C.

Scene 11: A/C taxies to fantail for deck launch.

Scene 12: A/C takes off.

Now, how do you get the coverage?

In scene 1, you could be in a high position for an establishing shot showing the flight deck with the A/C landing. After the A/C lands, you move down to the flight deck and shoot scene 2, MS, of the side boys, the flag officer, and the CO taking their positions on deck to greet the CNO. Scene 3 is an LS showing the A/C taxiing to the island. For scene 4, shoot an MS of the CNO and his party leaving the A/C. Scene 5 is a CU of the flag officer and CO greeting the CNO. Scene 6 starts with an LS of the CNO inspecting the side boys. Circumstances permitting, move in for an MS and CU of the inspection. Scenes 7 and 8 should be easy to shoot because of the time it takes to read citations, make

awards, and give a speech. This should allow plenty of time for you to move about and get long shots, medium shots, close-ups, and cut shots. Follow your judgment and intuition for shooting scenes 9, 10, and 11. Scene 12 is your closing shot. Again, shoot from a high position to show the flight deck. Pan the A/C and follow it until it is out of sight.

The shooting outline not only serves as a program for planning the sequence of coverage, but it also provides a basis for determining camera placement, movement, and shot framing.