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Author: admin | Category: Celtic Tattoo Designs | 30.12.2015

Get as much coverage as you can, which means covering the scene as many ways as possible, but also shooting the shots log enough.
The reason you want to work this way is that after you have established the action through your master shot, you will know what kind of pickups and cutaways and close ups you will need to get in order to match the master. When you are shooting an interview, or two actors talking right after you have shot them in the same location, make sure you get them to leave the frame, or you have a cutaway that makes dramatic sense, otherwise you will get a jump cut. Doing this will provide you with a reference of what was in the scene, how it was lit, and where the actors where standing, and what they were wearing at the start of the master shot, and at the end of it.

Keeping an eye on continuity is important to make every shot match, and to know how to set up the shot again if you have to go back and re-shoot. The best way is to hold a shot at least 5 seconds at the begging of a move, and when the pan or move is down hold the shot for at least another 5 seconds.
What I mean is start with your master shot, then work your way down to your three shot, two shot, close ups, extreme close ups, pickups, cutaways, or B-roll.
Some directors might want this effect, but if it is not part of the edit design it will just irritate the viewer, and kill their ability to sustain their disbelief.

If the camera is following, or tracking the actor, or car, and the subject does not leave the frame, or enter the frame, it will be impossible to cut to any other shot. If you are shooting on a DSLR, just take a picture of the master shot before you start shooting the scene, and one after wards. This is easily done on a 60D DSLR.

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