The CUT-AWAY shot is most often seen in films, inserted inbetween dialogue shots, to show something that a character might be talking about, thinking of, or looking at, which wouldn't otherwise be seen by the audience.
Cut-Aways are useful to the film-maker to add context to a storyline or a situation and can help the audience to understand more clearly what is happening by highlighting a relevant object of interest. They can also be used to simply add variety to the range of shots being used in longer scenes.
Fig #1
An extract from the film 'Ferris Buelle'rs Day Off'.
A good example of a CUT-AWAY can be seen at the end of the example above. Here a Headteacher is having a telephone conversation with one of his students and the CUT-AWAY shot is used to show the viewers a flashing light on the telephone that the teacher has just noticed. Without this shot, the viewers would not understand that the teacher has just realised that there is another caller waiting on the other line - and this is something that is highly important to the story at that particular moment in time.
In preparation for making my film, at school we conduced some preliminary work, this enabled us to practice some of basics of film-making.
This is the result from our preliminary work. The video below was filmed very quickly and shows a character entering an interview room and being asked by an interviewer: "what skills he has"?
The close-up shot is an important shot which is used in most, if not all films. A close-up shot normally shows very little background, if there is any background included in the shot it is normally blurred or out of focus to ensure the main point of interest stands out from the rest of the frame. A close-up shot on an actors face would emphasise their emotional state which would help the viewer relate to the character.
Film makers often use close-up shots to 'magnify' an object or point of interest to show a specific detail that wouldn't be clearly seen in a medium or wide shot.
There are different types of close-up shots:-
The REGULAR Close-Up:
Fig #1
From The Shining.
The regular close-up shot is ideal for capturing the whole of someone's face. It also shows a small part of the background to help the audience to establish the location of the shot.
The MEDIUM Close-Up:
Fig #2
From The Dark knight.
The medium close-up is a shot somewhere in between the regular close-up and a standard medium shot. A film maker might use this shot if they want to show something that might be arising in the background and also show how the main object in the frame is reacting to it.
Figure #2 above is a good example, here the viewer can see Batman is approaching the Joker but also clearly see the Joker's expression.
The EXTREME Close-Up
Fig #3
From Harry Potter.
The extreme close up is a very close shot (either with the camera positioned very closely or zoomed tightly in) which highlights the fine details that wouldn't be captured in other shot types. This shot also normally adds a dramatic aspect to the film by showing the character in great detail.
Film makers often avoid using too many extreme close ups however as they do not provide any detail of the location making it difficult for the viewer to understand clearly where the character is, which way they are facing, or how they are moving.
For my two minute Opening Sequence Analysis I have chosen one of my favourite films - ‘The Matrix’. This film was released one year before I was born and for me the visual effects, which were seen as revolutionary at the time and the inventive story, still impress me.
“The Matrix depicts a dystopian future in which reality as perceived by most humans is actually a simulated reality called "the Matrix", created by sentient machines to subdue the human population, while their bodies' heat and electrical activity are used as an energy source. Computer programmer "Neo" learns this truth and is drawn into a rebellion against the machines, which involves other people who have been freed from the ‘dream world’ ” (Extracted from Wikipedia)
Analysis:
The opening two minute sequence of The Matrix can be divided into four sections:
SECTION 1: The Title Sequence.
What happens?
The title sequence of the Matrix has become iconic and uses a pattern of bright green symbols and characters similar to those found on older computer screens, falling downwards like rain over a black background to reveal the film’s title.
Next using sound only we hear a telephone conversation between a man and a woman, and whilst this is happening a message appears on screen using the same bright green lettering used for the title and it states that the telephone call is being traced.
A grid of numbers appear as if a computer is attempting to unscramble a code, trying to find out the location of the callers. The call ends and the camera slowly zooms in towards one of the numbers on screen, it keeps zooming until it goes inside the number - almost as if it is travelling into the screen itself, down a bright neon-green hallway and into darkness.
Why was it done this way?
This effect used in the title sequence resembles a complex computer program, and this firmly establishes the film’s genre as science fiction.
It is also unclear what is happening at the start of the film. Who are the people on the phone? Why would someone want to trace their call? These questions draw the viewer in to the film and at the same time the effect on screen of the camera slowly zooming in also gives the feeling that the viewer is being drawn into an interesting adventure story.
The camera continues to zoom in down a hallway-like shape made of neon-green symbols, this feels like you are moving forward and links very nicely in to the next section.
The green and dark-black colours used in the title sequence are important in establishing the tone and genre and are used in the colouring (colour grading) of the entire film from start to finish.
SECTION 2: The Police.
What happens?
After the title sequence, immediately there are multiple quick shots of policemen searching with torches through a dark abandoned apartment building at night. The tension of the film builds until the police eventually break down a door to reveal a woman dressed in black sitting on a chair next to a telephone. She has her back to the camera and does not move as the police enter the room. The police tell her to put her hands in the air, and she slowly does this. We see her face for the first time - it is a character called Trinity.
Why was it done this way?
The Mise en Scene of this section is deliberately confusing as the police are searching and we are trying to work out what is going on. The atmosphere is dark, and the use of lighting (from the torches), smoke, and fast editing between multiple shots only gives the viewer short moments where they can actually see what is happening. This helps to add to the unclearness of what or who the police are searching for.
When the police break the door down and enter the room, the torch lights all move to focus on the sitting character - this lighting technique tells us they have found what they were looking for.
The fact that Trinity remains so calm when so many police start shouting at her, and that she is not surprised by them suddenly entering the room makes us think that maybe she knew the police would be coming, and maybe she does not see them as a threat?
The leather / latext outfit that Trinity is wearing and her short gelled hair makes her look dangerous / dominant. As she raises her hands and we see her face for the first time, we know there is something special / unusual about this character? But we still do not now what it is…
SECTION 3: The Agents Arrive.
What happens?
We cross-cut to outside the apartment building where there is a lot of activity with many more policemen in uniforms and police cars with flashing lights. We see the arrival of another car and three powerful looking men get out - they are ‘The Agents’.
There is a short dialogue between the lead agent (known as Agent Smith) and the lead policeman. The policeman does not think that Trinity will be difficult to arrest but Agent Smith thinks differently.
From the moment he arrives, Agent Smith has assumed charge of the situation, the agents are clearly of a higher rank than the other police at the scene. The Agents enter the apartment.
Why was it done this way?
This section uses many different techniques to juxtapose the Police from the Agents and show a difference in status between these characters.
Firstly the car that the Agents arrive in is very different to the police cars at the scene - the Agent’s car is unmarked and does not have flashing lights.
Also, whilst the police wear standard uniforms, the three Agents are all dressed identically in smart black suits - they are wearing sunglasses even though it is night time.
The shot / reverse shot between the main agent (Agent Smith) and the lead police officer makes use of different camera heights to show the Agent always looking down on the policeman, and and policeman needing to look up at the Agent.
The narrative here between the lead policeman and the lead Agent also reinforces that fact that Agent Smith is in charge.
SECTION 4: Trinity Attacks.
What happens?
We return to the interior of the apartment. The pace of the film steps up as a policeman approaches Trinity and tries to put her in handcuffs. A fight happens, but Trinity displays a series of super-human martial arts moves as she easily eliminates multiple policemen.
Why was it done this way?
During the fight scene an incredible special effect is used. The effect is known as ‘bullet-time’ and manages to leave Trinity suspended in mid-air whilst performing a slow-motion flying kick, at the same time the camera circles around the action. Sound effects are used to enhance the effect. This special effect is so unusual, and at the time had never been seen before, it makes it feel as if the character Trinity may possess some kind of supernatural power that allows her to defy gravity?
The entire opening sequence can be viewed on YouTube here:
‘Shot / Reverse Shot’ is a film making technique used typically in dialogue scenes. First, a SHOT of one character might be shown (where they are looking to the left), the film maker would then follow this with the REVERSE SHOT of the other character (looking to the right). By using the Shot / Reverse Shot techniques we help the viewer to understand that our two characters are facing one another (even if they are never actually seen together in the same shot).
It is typical however for dialogue scenes to begin with a Master-Shot which will include both character in the same shot. Master-Shots help to establish where the characters are in the location and which way they are facing - they help to orientate the viewer.
Fig.1 (Top to bottom)
Master Shot, Mid-Shot, Reverse Shot.
Other popular shots used in dialogue scenes are called ‘Over the Shoulder shots’ (OTS), here the shot is taken in such a way that the back of one character AND the face of the other can seen together in the same shot.
By following the 180 Degree Rule, a film maker would always ensure that a ‘Master Shot’, a ‘Shot / Reverse Shot’ or an ‘Over the Shoulder shot’ is always perfectly achieved.
The 180 Degree Rule is a fundamental principle used by film makers to help to ensure that any action on the screen will be as clear and as easy to follow as possible.
The rule states that when something is occurring in a scene, an imaginary ‘action-line’ should be drawn between the two most important things in the shot, and the camera should always be situated on one side of that line. If the camera is moved to provide a different angle on the action, it should always remain on the same side of the action-line.
The action-line could be drawn, for example, between the heads of two people during a simple dialogue scene. If there are multiple people in the scene, the action-line would be typically be drawn between those playing the most important roles at the time - in such cases it is therefore possible for the action-line to move between different people as needed, should the level of importance between the characters change.
The 180 Degree Rule isn’t only applied to people. The action-line could be drawn between objects of interest also, for example between a dart player and a dart board.
The purpose of the 180 Degree Rule is to prevent confusion in the viewers who often need to quickly understand the layout of the scene and the positioning between characters or other important points of interest - even when the angle or type of shots is changed (for example, between close ups, medium, wide, at various angles etc.).
Taking the example of a simple dialogue scene between two characters who are facing one another as they talk, by following the 180 Degree Rule the film maker would ensure that the character on the left of the conversation will always be facing to the right (ie. towards the other character), and the character on the right of the conversation will always be facing to the left - regardless of camera angle or type of shot used.
Fig.1 This is the Master Shot. Me on the Left looking at Evil-Me on the right.
Fig.2 This is a Mid-Shot. Me looking to the right - at Evil-Me.
Fig.3 This is the Reverse-Shot (Close-Up). Evil-Me looking to the left - at Me.
Figures 1, 2 and 3 look correct as the 180 Degree Rule has been followed.
If the rule is broken, and the camera is placed on the other side of the action-line (this is called “Crossing the Line”) it could easily become confusing to the viewer, and in the worst cases, it could look like the characters are looking away from each other (even if they were actually facing one another).
Fig.4 An example where the Rule has been broken! In the top image I am looking to the right, however Evil-Me also appears to be looking to the right in the lower image.
It should be remembered however that although the 180 Degree Rule is a very helpful guideline, rules are there to be broken!
A skilled film maker might decide to “Cross the Line” and break the 180 Degree Rule to produce a particular effect. For example, the action-line could be deliberately crossed to create a sense of confusion or disorientation in situations where the film maker wants the viewer to feel unclear or uncertain about what is going on.
Matching on Action (or Cutting on Action) is an editing technique that is used to help to ensure that any actions occurring on screen will flow nicely between multiple shots when they are joined together during the editing process (ie. when different camera angles or distances are used to show the same action).
Let’s look at a simple example - a scene where a character is picking up a gun from a table and we want to see this action from both wide and close up angles.
Here, the character might begin the action in a wide angle shot (for example he reaches towards the gun). It would be usual for the editor to join this shot with the next shot at a point that the same action is being completed (for example, as they actually pick up the gun, as seen in close up).
Although these two shots could have been filmed at different times or even different locations (they could have been filmed hours or even days apart), if we always match the edit point at the point that the action is occurring (in the middle of the action) we encourage the viewer to think about the action and not about the editing or the change in shot type.
Matching on Action requires the actor(s) to try to perform the same movements the same way each time the scene is filmed. Matching on Action not only helps to make the action flow nicely, it can also help to disguise any continuity problems that may exist.
A great example of Match On Action (done correctly and incorrectly) can be seen in this youtube video below from FilmRiot (5 Tips for Acting).
(Example video from Film Riot - please skip to 7 minutes).
