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Dolly Shots > Dolly Shots - 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- didates near and around your subject--clouds in the sky, traffc, someone sitting at a café table sipping cappuccino, a bird in a tree, and so on--something so that you'll have some shot variety when you assemble your fnal footage. (You can always flm your cutaway material after the main shooting is over; when, or even where, this supplementary footage is shot makes no difference. In iMovie, you'll make it seem as though it all happened at once.) Tip: Imagine the diffculty of shooting and editing a movie like My Dinner With André (1981)--a conversation between two men seated at the same restaurant table for the entire two-hour movie. If this movie had been shot with a single camcorder on a tripod, its audiences would have gone quietly insane. Only the variety of shot types, angles, shot length, and so on make the single setting tolerable. (That and the conversation itself, of course.) Video Composition: A Crash Course Dolly Shots One of Hollywood's most popular shot types is one that never even occurs to most camcorder owners: the dolly shot or tracking shot. That's when the camera moves while shooting. To create a dolly shot, flmmakers mount the camera on a platform car that glides along what looks like baby train tracks. The purpose of this elaborate setup is, of course, to move the camera along with a moving subject--to follow Kevin Costner running with wolves, for example, or to show the axe-murderer-eye's view of a teen- ager running away in terror, or to circle the passionately embracing Joseph Fiennes and Gwyneth Paltrow at the end of Shakespeare in Love. As a flm technique, this one chapter2:turninghomevideointoprovideo 63