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Turning Home Video into Pro Video > Turning Home Video into Pro Video - Pg. 63

number 4. You'd want to avoid simply editing the second take onto the end of the frst; doing so would introduce a jump cut, an obvious and awkward splice between two shots of exactly the same image. But if you conceal the snip by briefy cutting away to, for example, the reaction of an onlooker, your viewers will never suspect that the dialog came from two different takes. Another example, one that's especially pertinent when you're making training or how-to videos: Capture some footage that you can use for cut-ins. Cut-ins are like cutaways, in that they're brief interpolated shots that inject some variety into the movie. But instead of splicing in a wider shot, or a shot of somebody who's observing the scene, you splice in a closer shot. When you're flming somebody for a cooking show, you can cut in to a closeup of the whisk stirring the sauce in the bowl. If it's a technology show, you can cut in to the computer screen, and so on. When you're flming a dramatic scene, you can cut to a closeup of the actor's hands twitching, a trickle of sweat behind the ear, or a hand reaching slowly for a weapon. You'll do all of this cutting in and cutting away during the editing process, not while you're actually flming. Nonetheless, the point in all of these cases is to make sure you've captured the necessary footage to begin with, so that you'll have the fexibility and choice to use such techniques when it comes time to edit. Shoot cutaway can- Video Composition: A Crash Course