Unit 22 Notes on Segmented Shooting (Sequences)

Notes taken from Chapter 18 of 'Television Production' (Millerson)

Millerson – Ch 18 Production Practices

Fully-scripted productions:

• Broken down into individual shots or scenes.
• Action shot methodically out of sequence for maximum economy and efficiency.
• Shooting schedule drawn up to plan for this based on camera positions – avoids having to constantly move the camera which saves time and money,

Single Camera Technique:

• The traditional method of filmmaking.
• Shooting out of sequence often requires actors to repeat their action for each change in camera viewpoint or shot length, which can lead to continuity problems.
• Action, gestures, expressions, costume, lighting etc. must match within the various intercut shots and relate to story development although they may have been filmed at different times.

Shooting Uncontrolled Action – unscripted (ie a Live Gig or Performance)

• Option 1: shoot from fixed position and just use zoom to provide variety of shots – very limiting
• Option 2: Move camera to a series of different vantage points, changing the angle and shot size to capture the main features of the event. – risk of losing coverage. Unless timed with lulls in action

GVs (General Views) – in this case you need to shoot plenty of general material that can be used as cutaways. These may be active (can only be used at a specific moment in the edit), e.g. cutaway of a clock showing time that events start or crowd’s reaction to something. Or passive (can be used at almost anytime), e.g. flags, sun through branches, etc.

Need to make the most of opportunities available – can plan, check route and camera angles in advance, may even be able to influence action a little, e.g. arranging for beauty queen to turn and smile in the direction of the camera as she passes, but there will not be any repeats – no multiple takes!

Shooting Controlled Action (e.g. interviews, drama)

• You can arrange the action, the camera setups, lighting, staging to fit each individual shot.
• You can repeat action to have a range of shots to cut together.(LS, MS, CUs)
• You have the option to change things to improve the story line, e.g. having a character lean over a bridge to improve the composition, waiting for the sun to come out, or pausing while a loud aircraft passes overhead.
• Take the shots in the most logical rational order not in storyline sequence – you can then edit them together afterwards into this sequence, e.g. series of shots of people on two sides of a river you would shoot all shots from one side first before moving the camera to do the shots from the otherside, but would then edit the shots together alternating between the two.
• Take care that there are no discrepancies that will spoil the continuity, e.g. bright sunshine when shooting on one side of the river but pouring with rain on the other side – these shots cut together would not be convincing.

Segmented Shooting

Controlled action is usally broken down into a series of camera setups or action segments. If part of the action adds nothing to the situation it may be left out altogether, other times, the action may be emphasized.

For example:

Someone walking down a street:

• Omit the walk altogether and only show what happen when they reach the destination
• Focus on the walk – to emphasise a hurt leg and every step is agony – focusing close detail like heavy footsteps hesitant walking stick and uneven pavement
• Story aim to intrigue the audience –

Why not shoot continuously? Why use these techniques? – continuous action would become boring and take too long – breaking action into continually varying angles creates a lively pace and maintains viewers interest.

Basic Shot Types





Complex Shot Types, e.g. THE CONTRA-ZOOM or DOLLY ZOOMA popular shot and highly effective when executed effectively and utilised appropriately. See the dedicated wiki page by clicking on the link above for more examples and how-to's.

Evolution of the Dolly Zoom from Vashi Nedomansky on Vimeo.



Lighting

Video on effective lighting with only one light:


And this one on Interview Lighting & Golden Hour:

And 'How to Light a Large Space at Night':




SHOOTING DAY FOR NIGHT

It is very difficult to shoot at night without losing picture quality. Use this technique instead. Step by Step written guides can be found on these two pages and demonstrations in the two video clips below:

Videomaker: Day for Night
Videomaker: Shooting Day for Night