Shot reverse shot (or shot/countershot) is 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 first character.
The primary elements of a shot/reverse shot sequence are derived from the three-camera set up. The shots you should have for a basic shot reverse shot are: a two-shot of the characters usually in wide or medium shot; an over the shoulder shot on character A; and an over the shoulder shot on character B. The diagram below should give you an idea of the set up.
Cinematic evidence of shot reverse shot
180 degree rule
The 180 degree rule is a cinematography guideline that states that two characters in a scene should maintain the same left/right relationship to one another. When the camera passes over the invisible axis connecting the two subjects, it is called crossing the line and the shot becomes what is called a reverse angle.
The 180 degree rule is a cinematography guideline that states that two characters in a scene should maintain the same left/right relationship to one another. When the camera passes over the invisible axis connecting the two subjects, it is called crossing the line and the shot becomes what is called a reverse angle. Reversing the angle is commonly thought to be disorienting and can distract the audience from the intent of the scene.
30 degree rule
The 30-degree rule is a basic film editing guideline that states the camera should move at least 30 degrees relative to the subject between successive shots of the same subject. The 30 Degree Rule. The 30 degree rule is rule used in filmmaking with the purpose of creating continuity between different shots within a larger sequence of shots. It should also be noted that the 30 degree rule isn't a scientific standard.
Cut in
In the post-production process of film editing and video editing, a cut is an abrupt, but usually trivial film transition from one sequence to another. It is synonymous with the term edit, though "edit" can imply any number of transitions or effects.
In film and video, a cutaway shot is the interruption of a continuously filmed action by inserting a view of something else. It is usually, although not always, followed by a cut back to the first shot, when the cutaway avoids a jump cut.
Search ResultThe 180 degree rule is a cinematography guideline that states that two characters in a scene should maintain the same left/right relationship to one another. When the camera passes over the invisible axis connecting the two subjects, it is called crossing the line and the shot becomes what is called a reverse angle.
Crosscutting / Parallell Editing
Cross Cutting - Cross cutting is a technique used commonly to show something happening in two different locations. The camera will cross cut away from one action to another action. This way of editing often creates suspense and tension. It is used here in Quantum of Solace to build up tension and create a certain atmosphere. Cross-cutting is an editing technique most often used in films to establish action occurring at the same time, and usually in the same place. In a cross-cut, the camera will cut away from one action to another action, which can suggest the simultaneity of these two actions but this is not always the case.
Cross-cutting (also called split-screen) is a drama technique borrowed from the world of film editing, where two scenes are intercut to establish continuity. In drama and theatre the term is used to describe two or more scenes which are performed on stage at the same time.
Establishing shot
An establishing shot is usually the first shot of a new scene, designed to show the audience where the action is taking place. It is usually a very wide shot or extreme wide shot.
When we see a shot of the sun setting behind the exterior of a building, and then we cut to the inside of that building for the scene, we have seen an establishing shot. Establishing shots can be written into your screenplay, but they do not necessarily have to be marked as establishing shots. The establishing shot is one of the core shots in cinematography. Typically a wide shot, and the opener of a scene, it tells the audience where (and sometimes when) the next scene will occur. While this seems like simple information to convey, there are several ways to employ an establishing shot.
Match On Action
Cutting on action or matching on action refers to film editing and video editing techniques where the editor cuts from one shot to another view that matches the first shot's action. A common example is a man walking up to a door and reaching for the knob.
Match on action is an editing technique for continuity editing in which one shot cuts to the other shot portraying the action in the subject of the first shot. This creates the impression of a sense of contuinuity - the action carrying through creates a visual bridge which drawers the viewers attention away from slight cutting issues.
This is not a graphic match or match cut, it portrays a continuous sense of the same action rather than matching two separate things.
Temporal Overlap
An ellipsis is an apparent break in natural time continuity as it is implied in the film'sstory. ... It is sound that comes from within the narrative world of a film (including off-screen sound). Continuous diegetic sound helps to smooth temporally questionable cuts by overlapping the shots.
The Kuleshov Effect
The Kuleshov effect is a film editing (montage) effect demonstrated by Soviet filmmaker Lev Kuleshov in the 1910s and 1920s. It is a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation.
In his experiment, Kuleshov cut the shot of an actor with shots of three different subjects: a girl in a coffin, a hot plate of soup, and a pretty woman lying in a couch. The footage of the actor was the same expressionless gaze. Yet the audience raved his performance, saying first he looked sad, then hungry, then lustful. Below is examples of this effect in film.
Eisenstein montage
Sergei Eisenstein - Though not the inventor of montage, Eisenstein codified its use in Soviet and international film making and theory. ... The Kuleshov Effect - Lev Kuleshov's work is largely considered the basis from which all montage theory is derived.
Eisenstein was the second of the key Russian filmmakers. As a director, he was perhaps the greatest. He also wrote extensively about film ideas and eventually taught a generation of Russian directors. In the early 1920s, however, he was a young, committed filmmaker.
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