The main action is happening between Paul Newman and Daniel Craig’s characters, so it kinda makes sense to draw an “action line” between them and cover the scene from one side of the line. This way you’ll avoid problems later in the editing.

From the picture above you can see, that most camera setups are located on the right side of the line. This side was probably chosen due to technical considerations (limitations of the location etc.)

The scene starts with a high angle master shot of all characters, this clearly shows where each character is seated. Now, we can freely cut to individual characters without confusing the viewer… unless we cut to the camera placed on the other side of the action line.

In the third shot the camera physically jumps to the other side of the line. However, it doesn’t feel wrong. The reason is that you could…

Whether you’re working on a big budget movie, a TV documentary or a low budget independent film, one thing is for sure – everyone on the crew will be giving 100 percent to make that production as outstanding as it can be… so guys, good is NOT good enough! Working towards that common cause is a keystone value of every single crew member from Runners to Directors and Producers. It’s a pride thing!

Often striving for that elusive level of perfection can create a lot of friction between people, especially when the pressure’s on.

Over the years I’ve seen many conflicts between crew members, especially when an individual’s professionalism is criticized or threatened… it’s not an ego thing, it’s just pride in doing what you do.

It’s a funny thing though, one minute we’re happily working to the best of our ability, producing work we’re proud of, then all of…

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Mimic the Movie Masters
STEVEN SPIELBERG – Part TWO

Welcome back to Part TWO of my study of Mr. Spielberg; if you haven’t read Part ONE, I’d strongly recommend it if you’re interested in his signature “Push In”. The idea of this series is to give you, the filmmakers, more tools at your disposal, to further improve your work and help take it to the next level. I am going to highlight certain director’s individual cinematic signature shooting styles, so you can understand and apply these master techniques to your own independent movies. But anyway, enough of that, you’re here to read Part TWO. So let’s get on with it!