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Chapter 4: Directing > Master shots, cutaways, inserts and reactions - Pg. 76

| Chapter 4:| DIRECTING Master shots, cutaways, inserts and reactions A cutaway is a shot that takes in the surrounding area of the location that is being filmed. As the name suggests it is a general view, rather than of anything specific. Cutaway shots add background and are useful to have during the editing stage. For example, if shooting an interview, the camera is turned around the room and footage is shot of the room in general.These cutaways help give context and add visual interest to the interview. An insert is a shot that focuses on something specific, so in the interview scenario, for example, the shot could be a close-up on the interviewee's hands, eyes or mouth. In a scene between two or more people reaction or reverse shots are necessary to cover the action. For example, the camera is pointing at person A to record their dialogue. It is then set up where person A was standing to record person B's response.This gives the impression to the audience that it is involved in the conversation, which can be a more dynamic way of covering the action than having a master shot of both people at the same time. When breaking down a scene the director must consider the main guidelines that help convey the action. Films in the early days of cinema consisted of a single shot.The camera was set in a static position and recorded what was in front of it.This is known as a master shot because it is a wide frame that shows everything in the scene.Today a master shot is usually used at the beginning of a scene before moving into a range of other shots to help tell the story. However, long continuous shots do not have to be static as they were in the early films. Film-makers have used them to show off their directorial prowess as seen in Rope (1948) where Hitchcock used just nine shots in the whole film, each one carefully choreographed to include depth and movement. | The Fundamentals of Film-Making | | 3: Producing << | Chapter 4: Directing | >> 5: Production design | | page 76 |