An editing technique in which the exact same action (such as a Talking Head) is filmed from various angles all around the subject, then edited together with Jump Cuts amongst all the different angles. This, of course, necessitates a "multiple-camera setup". Typically, the talking head will focus on one particular camera angle as if it is the only camera recording; all other angles show the subject from the side or even from behind, calmly nattering on whilst facing away from the camera.
The technique is most commonly used with stunt work or similar action sequences, particularly vehicular stunts. In this case the trope is fully justified; most stunts, by their very (destructive) nature, can be performed only once, and those that can be re-done require time- and money-consuming re-setup, making it more desirable to get it done in one take anyway. Multiple camera setups are used to provide the director and editors with plenty of footage.
Outside of stunt work, the Multi-Take Cut tends to be more common in television commercials, but can also be utilized for talking heads in some movies and TV shows, often in combination with the Jitter Cam. The intention seems to be to add a sense of movement or frenetic excitement to an otherwise dull, boringly static scene. It can also be a bit discombobulating to the viewer, an effect which might actually be desirable in, say, a mystery or thriller.
A third alternative, far common in fiction, is to use a multi-take cut to show the devastating effects of a Wave-Motion Gun, Fantastic Nuke, atomic nuke, or any other such Superweapon. Less frequently, this technique may be used to showcase a dramatic fall.
Many local news shows have reporters record on-location promotional blurbs. As a result, it might become part of a B-Roll footage. Sub-Trope of Hard Cut and Rule of Cool, whenever it's not being used to reinforce an Epic Fail, of course.
Similar to the Repeat Cut, except that the action is not actually repeated. Compare and contrast Staggered Zoom (zooms accomplished by jump-cuts).
Because this trope is so ubiquitous in stunts, please submit Non-Stunt Examples only:
Examples:
- JoJo's Bizarre Adventure: Stardust Crusaders: In the final fight, as Jotaro's Star Platinum and DIO's The World rush towards each other, their finishing blows collide with multi-take shots from multiple angles once they strike a hit.
- Magical Girl Lyrical Nanoha StrikerS: The first opening has a sequence of the Forwards fighting a random robot. After they land, we get a sequence of Subaru approaching said foe. Her path starts with a side angle of her leaping from an explosion, then the camera cuts to a front view of her landing, then again a side view of her racing toward the robot, and finally, a rear shot of her about to strike it.
- Soul Eater: Whenever Death the Kid fires the Death Cannon, there are four takes of the show from different angles (counting the first one) the one exception in the anime is the final fight against the Kishin, where he fires it multiple times without the cuts.
- Ximena Natzel's animatic for "No Longer You"
(the second track of EPIC: The Musical's Underworld saga) ends with Odysseus' ghosts pulling him off the edge which Tyresias inhabits as said prophet is singing a Title Drop. Odysseus' fall is first seen from a side view plus a close-up. Then we cut to a slanted view from below as his body sinks in the water, and, finally, the camera jumps to a shot of his closing eyes.
- Magical Girl Lyrical Nanoha The MOVIE 1st: Fate's Spark End beam-o-attack during the climax receives this treatment twice. First, when she finishes shooting it, we can see from three angles (right, left, and above) as it reaches its destination. It wrecks some buildings in the process and, once it hits Nanoha, it creates an expansive wave whose aftermath we again see from many angles as it obliterates that part of the city.
- Bicentennial Man: In the scene where Andrew is telling jokes to the family, the camera starts as if it is placed on the table looking up at him, but Jumps around so that we can get everyone's reactions as they dissolve into uncontrollable laughter.
- The Dark Knight: Downplayed. As shown here, Christopher Nolan filmed the hospital explosion from several angles, but decided to put only two in the finished movie.
- G.I. Jane: When Jordan shaves her head in an attempt to invoke Bald Head of Toughness, the camera switches between multiple angles to underscore her badass, determined expression.
- Taken 3: The infamous frenetic cutting during Bryan's Chain-Link Fence climbing scene.
- Bicolor: Played for Drama when Lucas, after anguished days of searching for a missing Félix, finally finds him in a pitiful state. In Débora Huentrul's official illustration of the scene, the screen is split three ways, detailing how Lucas's countenance morphs from calling out Félix's name, to noticing him, to shock.
- Doctor Who: In "The Satan Pit", the Doctor gives a short speech on why he believes in Rose despite the dire circumstances before them—she's been abducted by the crew and he's facing the physical vessel of the Beast. To highlight his faith in her, as he says, "If I believe in one thing, just one thing! I believe in her", we get many different angles of his very expressive countenance.
- NCIS: The series uses it in pretty much every establishing shot, with a few seconds clearly passing between each cut. Presumably done to give a sense of hurry.
- Céline Dion: In "Then You Look At Me", Dion is in the middle of a lab where they're building NDR114 robots. She stays in one spot, dancing in a skimpy outfit, while the camera jumps around the entire room, sometimes focusing on her from the front, the sides, or on all the equipment.
- Vitas: The music video of "Love Me" is made up entirely of the camera panning around Vitas at various angles.
- Abobo's Big Adventure: The Coup de Grâce Cutscene for the Final Boss shows Abobo's uppercut close in at four different angles. Those same four angles are then shown again in quick succession, this time with the punch connecting.
- ANNO: Mutationem: After defeating Loki's Mini-Mecha at the end of Noctis City's Ruthless Rooftops, the following Coup de Grâce Cutscene has Ann finishing it off with rapid-angle cuts delivering multiple attacks onto it in quick succession shortly before it blows up.
- The Darkness: Nicky has a series of monologues while he's sitting or standing under a spotlight during the loading screens. He talks directly ahead but the camera will constantly change angles.
- Super Mario Galaxy: In the final battle with Bowser, this happens when Mario lands the finishing blow.
- Viewtiful Joe 2: Sexy Silvia's exclusive power is to playback the same attack three times for triple damage, even though you only attacked once.
- Banana-nana-Ninja!: When Baninja pokes Sumo Baker in the navel, the ensuing High-Pressure Blood torrent that blasts Baninja away is seen from different angles.
- Pootis Engage: After Sol-dier is kicked into the air, one is used as he slams BLU Heavy's face into the ground.
- Strong Bad Email: Wildly-changing cuts, zoom-ins, and camera angles are heavily abused in the Cheat's attempt at "Youth Through Editing" in "Looking Old".
- Alien Age 11: Possibly the effect a panel featuring close-ups of three Aliens from different angels was meant to get across.
- Simon Says: Let's Play Video Games: The Grand Theft Auto V: Online Heist videos (specifically The Prison Heist, the Hydra hijack mission for the Humane Labs Raid, the Raid itself, and the actual heist part of the Pacific Standard Heist) cut between gameplay footage and rendered camera shots of the action (made possible by the Rockstar Editor). In the Pacific Standard, this is what lets the viewer watch Brian and Chronos as they complete their task in the bank.
- Smosh: MANSPIDER! plays this one with Rule of Cool and Rule of Funny. There's a scene where a guy removes his towel and then asks "Who wants to go skinny dipping?" only for Manspider (Anthony) to answer "No one!" and then whip the towel at him, making him fall into the pool. Cue the montage of numerous takes of the guy's falling in different angles.
- Megas XLR: In "Rearview Mirror Mirror — Part 2", as Coop is defeated by his evil Alternate Self, Megas undergoes a Pre-Explosion Glow from multiple angle cuts before exploding.
