A cutaway also can be used when you want to condense an extended flow of action; for example, if you start a sequence with a closeup shot of the time clock indicating 12 minutes left in the quarter, then cut to the primary action on the field for about 10 seconds, then cut back to the clock indicating 3 minutes left-the elapsed time of 9 minutes would be indicated to the audience. An example of a cut-in is a close-up of one player's foot as he kicks the ball. This close-up could have been shot at any time; however, by inserting the cut-in into the film during editing, the audience feels that the kick actually  happened  during  the  game. The difference between a cut-in and a cutaway is simple. When filming the football game, the camera operator “went in” and took a close-up of the kicker's foot as he kicked the ball. The operator of the camera cut-in to the action. However, when the camera operator shoots a close-up of a fan's foot kicking another fan who had been rooting for the wrong team, that is a cutaway, because it cut away from the primary action of the game. Cutaway  shots  represent  secondary  action.  Cut-in  shots represent  primary  action. CONTROLLED ACTION As the name implies, in controlled action you can control all aspects of a production. This includes actors, their actions, the set lighting, and sound recording, if any. You usually work from a well-developed script that includes all the details. If the actors speak, the dialogue is in the script. If the action is described by a narrator, the narration is in the script. If the film is silent, the titles appear in the script. Examples of controlled-action films include  training  films,  some  documentaries  and historical  records,  and  many  publicity  or  recruiting films.  Controlled  action,  motion-media  productions  are produced only by personnel with specialized “C” school or   university   training.   As   a   nonspecialized Photographer's   Mate,   you   will   be   faced   with uncontrolled  or  semicontrolled  action  elements  of  a production  or  film. UNCONTROLLED ACTION In  a  controlled-action  situation,  everything  is normally  written  in  the  form  of  a  detailed  shooting script.  Predictable  filming  is  performed  and  there  are few  crises,  except  the  occasional  human  oversights  and mechanical   malfunctions. The   other   world   of   motion-video   recording (uncontrolled  action)  is  full  of  crises  and  surprises. Success  primarily  is  due  to  good  reflexes,  accurate guesswork,  and  quick  thinking.  Careful  planning  is  not the  most  significant  factor.  Most  of  your  motion-media assignments  will  be  uncontrolled  or  semicontrolled action. Your  success  as  a  maker  of  uncontrolled-action films depends on your knowledge of the capabilities and operation of video equipment. You must also possess a high level of technical skill. There is neither time nor opportunity for research or practice while doing this kind of assignment. You must be prepared in advance. News, sports, special events, and on site-coverage of ongoing activities make up the bulk of this type of assignment.  Another  class  of  uncontrolled  action  is  the documentation  of  events  that  follow  a  known  course  or pattern,  such  as  parades  and  ceremonies.  These  are called  semicontrolled,  because  you  know  in  advance approximately what is going to happen, even though you cannot influence it for recording purposes. Both types of assignments are challenging, exciting, and usually welcomed by confident camerapersons. But, they can be “unfortunate  experiences"  for  those  not  properly prepared  to  cope  with  them. PREPARATION  FOR  FILMING UNCONTROLLED AND SEMICONTROLLED    ACTIONS Obviously you cannot develop a specific, detailed plan for shooting uncontrolled or semicontrolled action. You must get as much information about the assignment as possible and in as far in advance as possible. This information   helps   to   provide   an   estimate   of requirements  for  equipment,  supplies,  scheduling  of personnel,  transportation,  camera  positions,  lighting, and  other  technical  details. Whenever you are assigned to cover VIP arrivals, award presentations, or special events, you should immediately contact the person or agency in charge of the project. This person is usually the public affairs officer (PAO). The PAO can furnish you the full scope of your assignment and provide the following basic information: Name and rank or title of the person(s) involved Place and time of arrival Complete  schedule  of  activities When possible, you should personally inspect the location and route of the proposed action (site survey). If this cannot be done, try to get drawings, maps, plans, or photographs of the area. Eyewitness descriptions or 13-21