clean frames, or continuity errors. More coverage is needed when filming explosions or stunts, as these are extremely difficult to replicate exactly. A single actor's performance which is particularly difficult, or a scene which has a large number of characters, will usually require more coverage than a two-person scene with simple dialogue. In the Golden Age of Hollywood, a coherent style of acting, direction, editing, cinematography, theatrical realism, sound, and production design, collectively known as the "Hollywood style", dictated coverage. Directors and cinematographers were explicitly taught to capture a master shot, medium shots, close-ups, and cutaways from several different angles. This gave the director and editor, as well as producers and studio executives, the maximum amount of freedom in cutting the film. Since the demise of the studio system, coverage has taken on less importance in terms of crafting a scene due to the emphasis on the auteur theory of filmmaking. Veteran feature film editor John Rosenberg has argued, however, that moving away from the "Hollywood style" and studio system has led to lower-quality cinematography. In his opinion, coverage is too limited, takes end without clearing a frame, composition is poorly thought through, lighting is poor, and shots setting up the scene are sparse. Editors use coverage to overcome problems with visualization and storytelling. A good editor has a strong aesthetic sense, a complete understanding of the technical aspects of filmmaking, and a solid ability to tell a story. An editor uses these skills to diagnose problems with a scene, and correct them using coverage. In feature film production, coverage is delivered every day to the editor in the form of "dailies" (also known as "rushes"). These are all the shots from the prior day which the director saw fit to print. Not all coverage has to be used in the final cut. Coverage in the master scene method In the master scene method, the script and the master shot are the "road map" which the editor uses to craft the scene. The master shot is filmed first, since coverage must match what occurs in the master. Coverage consists of all the other shots—close-ups, medium shots, point-of-view shots, shot reverse shots, and others—required by the director to tell the story. All of these shots must obey the 180-degree rule. "Call" (the shot of the first actor, item, space) and "answer" (shots of the next actor, item, or space) shots use