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In filmmaking, the 180-degree rule [1] is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. The rule states that the camera should be kept on one side of an imaginary axis between two characters, so that the first character is always frame right of
The rule prevents the camera from crossing the imaginary line connecting the subjects of the shot. Another method is the eye-line match. When shooting a human subject, he or she can look towards the next subject to be cut to, thereby using the former's self as a reference for the viewer to use while locating the new subject within the set.
The "line" in "below-the-line" refers to the separation of production costs between script and story writers, producers, directors, actors and casting (collectively referred to as "above-the-line") and the rest of the film crew or production team. [16] best boy. A woman who performs the duties of a best boy may be called a best girl.
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. [ 1 ] In the Golden Age of Hollywood , a coherent style of acting, direction, editing, cinematography, theatrical realism , sound, and production design ...
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A scene or sequence inserted into a scene set in the narrative present that images some event set in the past. Flash forward A scene or sequence inserted into a scene set in the narrative present that images some event set in the future. Focus The optical clarity or precision of an image relative to normal human vision.
[11] [12] [13] (Here the "gun" refers to a monologue that Chekhov deemed superfluous and unrelated to the rest of the play.) "Remove everything that has no relevance to the story. If you say in the first act that there is a rifle hanging on the wall, in the second or third act it absolutely must go off.
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