The Close-up Insert shot
In any particular scene the dialogue may refer to an object in the room, and if that thing is important (and why mention it if it isn’t?) it will be shown in a close-up shot, inserted into the editing sequence so that the audience can get a good look at it. It could be almost anything: a gun, a clock, or the Maltese Falcon, but as it is mentioned the picture cuts to the object in question for a few beats, then back out to the larger scene.
In this scene Lupo is showing the A.D.A.s photographs that refute the defendant’s testimony, expose his perjury and pretty much prove the prosecution’s case.
After shooting various angles of the three characters talking to one another, the last thing to do is the close-up insert of the photos on the table. There’s no need to record sound since the speech from the wider shots will run right over the insert, and this is why there can be directions called out, casual talk and even joking while shooting.
To fit logically with the conversation one shot is taken from the point of view of Cutter and one from that of Rubirosa, for they are the people who are being shown the evidence for the first time along with the audience. When it is all cut together nicely the viewer just kind of shares the moment with the characters as the significance of the photos is revealed.
These point of view shots were taken “hand-held” rather than on a tripod to give them a “natural” feel, but that means that the camera operators must each lean forward and look down holding a 45 lb weight in front of their face. That puts quite a strain on the lower back, making it difficult to hold steady and in focus for long. The pieces of footage actually used will be brief, but the multiple attempts to get the action just right are done while continuously rolling one long shot. At this tabletop scale space is magnified and it is truly a game of inches and millimeters. It’s harder than you would think to get that little shot right.
The man with the gavel is Alec, one of the cameramen, rendering his judgment on the aforementioned “continuous roll”.
