CAMERAWORK AND EDITING​
SHOT REVERSE SHOT
A film technique where one character is shown looking at another character (often off screen), and then the other character is shown looking back at the 1st character. This shot type is normally used during a conversation between two people and is often used to show the actions and emotions of both characters throughout the conversation to allow the audience to further understand how they are both feeling.
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They are features of "classical" hollywood style continuity editing
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Deemphasise the appearance of transitions beteen shots
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Good example of eyeline match
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"Light Sleeper" uses an example of shot reverse shot, shown in the video on the right. It is used in conversation and eases the audiences ability to follow smoothly. Over the shoulder shots are used from each side to show the audience the subjects that are engaging in this conversation.
180° DEGREE RULE
This is a basic guideline regrading on-screen spatial relationship between characters and objects. The 180 Degree Rule is having the camera stay on the same side without switching over to the opposite side (of the characters).
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When this rule is broken (sometimes intentionally) it is called 'shooting in the round'
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It enables the audience to connect with the unseen movement occurring around the subjects
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Plays an important role in the narration of battles
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Is a style in continuity editing.
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If the virtual line is crossed, the new shot will mirror the previous shot. This can create effective disorientation which can be useful in psychological thrillers like 'The Shining' where the 180 degree rule is broken intentionally.
MATCH ON ACTION
This is when the editor cuts from one shot to another view that matches or continues from the action presented in the first shot.
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Gives the impression of continuous time
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Creates a visual bridge
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Distracts the audience from the cut
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The match on action used in this example allows the same action to be seen from multiple angles. This allows the audience to witness an event from different perspectives without effecting the reality of time in the sequence. In other cases match on action can allow a visual bridge which can link two unleated events to ease the harshness of a cut and change of time/setting.
