My English course is not very good, but I'm looking and focused listening to your speech) I can not understand much (because of not knowing the language), as I think everything is clear and understandable. Thank you so much!
Thanks Wolfcrow for this excellent video ! Superbly detailed discussion...never really thought about 180 degree rule with such depth...You are film school on you own ! Keep up the good work , would love to see more videos like this !
One of my favorite scenes where the 180-degree rule is changed in shot, and with great dramatic effect is in Requiem for a Dream when, Harry and Sarah Goldfarb are having a conversation around the table. The scene begins on the light side of their faces, when the conversation is generally positive, then, as Harry hears Sarah grinding her teeth and the conversation takes a negative turn, the camera moves around to the dark side of their faces. So powerful. I found it here if you're interested: ua-cam.com/video/byc99upOZK8/v-deo.htmlm20s Thanks for your great videos!
One simple way for a hectic shoot with three or more characters: Always make sure you get closeups of the characters turning right to left and back again. Or even "cat in the window" shots. If you have these you can in edits save quite a few conundrums. Have a sequence where you need to cross these lines? Just insert one of those extra shots. They take seconds to record but can get downright invalueble during post production.
Man Wolfcrow, I would love to see a video on match cuts from you. Few people can do it well from what I have seen on UA-cam, but when it is done well it looks amazing. Matching the colours, the motion, the leading lines and composition. It seems like such a powerful technique!
Glad to have found this video. I decided to specifically google "180 perspective cuts in animation that work" and god this video. While looking for a compilation of 180 cuts that were done great, I'm all game for educational videos. :)
Wow there is so much information in this video, I can't keep up because I don't understand yet most of the film language. I'm going to have to rewatch this again! Thanks for making this video!
i'm pretty sure that the example around 3:17 comes from a problem of jumbled terms. Jump cuts can be a result of breaking the 180 but you can have a jump cut without breaking it. and eye line and 180 is not the same thing even though your protag's eye line typically provides the 180. breaking the 180 line, jump cuts, and messing up eye lines can all be jarring but not always for the same reasons.
Excellent and very insightful as always! Never enough quality information about shots and edits (cuts) to achieve the desired result. Tanks for sharing your knowledge!
very well explained, though I know about 180 deg rules, This has helped me to understand it better and give better explanation Last week when I was shooting I had to explain someone about the the same but I felt I was not so convincing in explaining it. Your video will help me. Thank you so much... :)
Script Supervisor in Los Angeles in union since 1996 and it’s part of my job to track this. Screen direction alludes even the most experienced film-makers. Good job explaining ❤ Oh I can also tell you that a lot of the time it’s not intentionally the wrong side of the line. They just did it that way and the editor has to cut it in. Sometimes they correct mistakes and sometimes they just let it go bc they F’d up and realized after the fact. 😂
Excellent as always Sareesh. I just shot a short where I broke the 180 rule twice. Once to show the change in the roles of the characters and to increase the sense of disorientation during an argument. And second, to show how things had change for the main character midway through the story. like you said it's more of a guideline than a rule. one that, if used well, becomes a great story-telling tool.
All you have to do is pull back and re-establish the space they're in if you don't want to break the 180 degree line/rule but want to shoot from the opposite side. The shot from The Shining for example doesn't really break the 180 degree rule until it cuts back to the close up of Nicholson, like something out of Godard's Breathless would for example, because the shot Kubrick cuts to is far away enough that it's able to re-establish the space of the bathroom and we clearly see where the two characters are in relation to each other and the room they're in, and long enough that it gives viewers time to process it, so it isn't disorienting or confusing because it's more like a new establishing shot for the scene. And since he gave us enough time with that second wider shot we can more easily process it when it returns to the close up of Jack which matches his eye line of the previous angles. This would be different if cuts to closer shots where we only see one of the subjects and the direction in which they're facing like in the shooting in Breathless or if we see dialogue between two characters that don't use proper reverse angles and it appears that they're facing the same direction when they're speaking. There's a scene in Mikio Naruse's little seen Three Sisters with Maiden Hearts that does this, and only during a part of the conversation. It's when one of the characters is feeling the weight of the troubles her husband is going through and I believe is meant to show how close she's empathizing with his predicament, before it returns to conventional reverse angles.
Fantastic video! especially liked the last scene with animation 'keep him right'. If this had been used more through the video I'd given you an 11 out of 10, otherwise another 10 out of 10 video I could not stop watching
Good content as usual. If all the cases given here are put into a "can I break the rule" equation based on when breaking or not has "worked" historically in a similar scenario, I feel the answer would always be "Yes".
Let me just say one thing. The key idea is keeping the orientation of the world around the character consistent. So you can keep or not keep the 180 degree rule, but what's most important is world consistency. So Let's say we have a character sleeping in bed. In our first shot, is our first impression of the world they inhabit. We see that they are in a room, with a window and a door. We can now cut to any angle of that character and know that their orientation to the world is from the bed, head on the pillow. We can even jump-cut outside of the environment we've established to gain more information about the space. by cutting outside the door, we see a person standing there listening in on the doorway. He opens the doorway to see the girl in bed. The doorway is our ANCHOR to knowing that the two separate spaces are related, so this helps build our world consistency. To break it down, if you want to break the 180 rule, you need to have anchors in your world...These anchors are just reference points that draw a relationship between the subjects and the world around them. Anything can be an anchor...the subjects themselves can also be anchors, as well as movement of a subject from one shot to another can be an anchor. You can even develop anchors in your scene to begin with, and shots there after will draw upon it even if the shots are jump cuts, as long as you've established and continue to establish the orientation and the world around the characters, your brain will naturally develop a consistency of the world they inhabit.
I propose that the front to back shot negates the 180 deg rule as communication has conditioned us to locate another's eyes or follow another's face. Since we are looking at someone's back, that "stress" is negated and we subconsciously accept the jump cut. Like stop signs in a parking lot, the 180-degree rule is a recommendation, but not enforceable.
WAY too complicated for newbies. I love WolfCrow, brother. Don't get me wrong. I gripped numerous union (I.A.T.S.E.) episodic TV shows in the 90s and movies in Los Angeles and the 180, referred to by pros as "The Line" ain't that complicated. A progression of shots to give an editor so they have everything they need. It's called "coverage". It's like this: 1) Master shot; all-inclusive, the geography of a bar, let's say. 2) Mini master: "pop" in a little closer, almost isolating our two characters sitting at a table, talking. 3) Two-shot: right profile and left profile; from the table top, up. Now we have established the line. 4) Pop in closer to a chest-up single (a.k.a. a Mae West; bust up) for both characters. "Dirty over" (the shoulder); the right shoulder and left shoulder of the characters with the actor you're shooting over out of focus. 5) The head only "single' and "clean of the second character.. Dialogue ends and the editor cuts in to the master as a pop out. Picture it in your head and it isn't so complicated because this "coverage" is used over and over in TV.
Hi Sir... I am an admirer of your classes. I have learnt a lot from them. My question "What would be settings(like white balance, exposure etc) for Raw shooting ... ?" I want to learn this from you. Thank you very much... Keep inspiring us... Lots of respect and love...
Cinematography, a book by Kris Malkiewicz, has all the rules of filmmaking you will ever need. Don't follow your gut until master Malkiewicz and only then you will learn how to artistically break the rules.
Hello Sir, My name is Tushar Modak. I am from kolkata. Sir your tutorials are just awesome. Sir I have a request. Can you please give a little bit more examples of 180 degree rule. And if it possible please give that tutorials in hindi.
Sorry you got me wrong. You did very well. You always do. Previously, I knew what you were talking about. You always present a topic in a very interesting way. It is your manner of being well prepared. This time you showed me a different, new perspective. A new way of seeing, that was unexpected, confusing. You made me think.
Thanks for another great video! Is it possible to label the films used in the next video? Even a list of films used in the description would be helpful.
i couldnt match your words and visual perfectly.. this video left me puzzled.. and nearly took one hour to concur my previous learned concepts about 180 degree rule.. plz do it for the amatrs not for pros
Great video. The Dark Knight in particular is a study in frustration, when they break this rule throughout the movie and you personally feel the effects of the disorientation. Like Batman/Joker in the interrogation room. I just have to assume that they broke the "guy on one side, stays on that side" rule for effect/artistic license..... right?
Thank u so much sir. U r the best. Plz alwsys add subtitles /captions to your all upcoming videos. It will be really heplful. I am doing promotion of your channel on facebook, instagram. Keep making new videos. Plz make a video on Godfather triology. @wolfcrow
![[UA] NAVI проти G2 Esports | Blast Premier Fall Final](http://i.ytimg.com/vi/QWlIm4FGESQ/mqdefault.jpg)
One of the most graceful tutorials on the 180' degree rules. I'm glad you're making such videos again. Thankyou @wolfcrow.
This is an insane amount of information for one video man! I'm going to have to go over this a few times to get it all
It sounds like a simple premise, but the way it's presented here is extremely complicated.
My English course is not very good, but I'm looking and focused listening to your speech) I can not understand much (because of not knowing the language), as I think everything is clear and understandable. Thank you so much!
Thanks Wolfcrow for this excellent video ! Superbly detailed discussion...never really thought about 180 degree rule with such depth...You are film school on you own ! Keep up the good work , would love to see more videos like this !
Thank you!
One of my favorite scenes where the 180-degree rule is changed in shot, and with great dramatic effect is in Requiem for a Dream when, Harry and Sarah Goldfarb are having a conversation around the table. The scene begins on the light side of their faces, when the conversation is generally positive, then, as Harry hears Sarah grinding her teeth and the conversation takes a negative turn, the camera moves around to the dark side of their faces. So powerful. I found it here if you're interested: ua-cam.com/video/byc99upOZK8/v-deo.htmlm20s Thanks for your great videos!
You’re welcome!
You are one of the best online film teachers
That was the best/funniest Big Lebowski drop that I've ever seen! I literally laughed out loud... Perfect!
One simple way for a hectic shoot with three or more characters: Always make sure you get closeups of the characters turning right to left and back again. Or even "cat in the window" shots. If you have these you can in edits save quite a few conundrums. Have a sequence where you need to cross these lines? Just insert one of those extra shots. They take seconds to record but can get downright invalueble during post production.
You can really do whatever you want, jump the line, jump cut etc.. as long as you don't confuse the audience.
Man Wolfcrow, I would love to see a video on match cuts from you. Few people can do it well from what I have seen on UA-cam, but when it is done well it looks amazing. Matching the colours, the motion, the leading lines and composition. It seems like such a powerful technique!
Glad to have found this video. I decided to specifically google "180 perspective cuts in animation that work" and god this video. While looking for a compilation of 180 cuts that were done great, I'm all game for educational videos. :)
Wow there is so much information in this video, I can't keep up because I don't understand yet most of the film language. I'm going to have to rewatch this again! Thanks for making this video!
Really great explanation of the 180 degree rule. it's always nice to freshen up on the fundamentals.
Thank you!
i'm pretty sure that the example around 3:17 comes from a problem of jumbled terms. Jump cuts can be a result of breaking the 180 but you can have a jump cut without breaking it. and eye line and 180 is not the same thing even though your protag's eye line typically provides the 180.
breaking the 180 line, jump cuts, and messing up eye lines can all be jarring but not always for the same reasons.
Excellent and very insightful as always! Never enough quality information about shots and edits (cuts) to achieve the desired result. Tanks for sharing your knowledge!
You're welcome!
very well explained, though I know about 180 deg rules, This has helped me to understand it better and give better explanation Last week when I was shooting I had to explain someone about the the same but I felt I was not so convincing in explaining it. Your video will help me. Thank you so much... :)
You're welcome!
Script Supervisor in Los Angeles in union since 1996 and it’s part of my job to track this. Screen direction alludes even the most experienced film-makers. Good job explaining ❤ Oh I can also tell you that a lot of the time it’s not intentionally the wrong side of the line. They just did it that way and the editor has to cut it in. Sometimes they correct mistakes and sometimes they just let it go bc they F’d up and realized after the fact. 😂
YUSS. Love it. More content and also where can we watch some of your short films? I'd be keen to see how you apply all of your knowledge
corbie8 Thank you! Watch this space.
That was 16 minutes well spent... thank you.
You're welcome!
Excellent as always Sareesh. I just shot a short where I broke the 180 rule twice. Once to show the change in the roles of the characters and to increase the sense of disorientation during an argument. And second, to show how things had change for the main character midway through the story. like you said it's more of a guideline than a rule. one that, if used well, becomes a great story-telling tool.
Thank you! You're absolutely right.
All you have to do is pull back and re-establish the space they're in if you don't want to break the 180 degree line/rule but want to shoot from the opposite side. The shot from The Shining for example doesn't really break the 180 degree rule until it cuts back to the close up of Nicholson, like something out of Godard's Breathless would for example, because the shot Kubrick cuts to is far away enough that it's able to re-establish the space of the bathroom and we clearly see where the two characters are in relation to each other and the room they're in, and long enough that it gives viewers time to process it, so it isn't disorienting or confusing because it's more like a new establishing shot for the scene. And since he gave us enough time with that second wider shot we can more easily process it when it returns to the close up of Jack which matches his eye line of the previous angles.
This would be different if cuts to closer shots where we only see one of the subjects and the direction in which they're facing like in the shooting in Breathless or if we see dialogue between two characters that don't use proper reverse angles and it appears that they're facing the same direction when they're speaking. There's a scene in Mikio Naruse's little seen Three Sisters with Maiden Hearts that does this, and only during a part of the conversation. It's when one of the characters is feeling the weight of the troubles her husband is going through and I believe is meant to show how close she's empathizing with his predicament, before it returns to conventional reverse angles.
Great video dude, very interesting.
Fantastic video! especially liked the last scene with animation 'keep him right'. If this had been used more through the video I'd given you an 11 out of 10, otherwise another 10 out of 10 video I could not stop watching
Rob Brown Thank you! Now I need to get that 11!
Good content as usual. If all the cases given here are put into a "can I break the rule" equation based on when breaking or not has "worked" historically in a similar scenario, I feel the answer would always be "Yes".
Fantastic channel! Your explanations are superb.
Let me just say one thing.
The key idea is keeping the orientation of the world around the character consistent. So you can keep or not keep the 180 degree rule, but what's most important is world consistency.
So Let's say we have a character sleeping in bed. In our first shot, is our first impression of the world they inhabit. We see that they are in a room, with a window and a door. We can now cut to any angle of that character and know that their orientation to the world is from the bed, head on the pillow. We can even jump-cut outside of the environment we've established to gain more information about the space. by cutting outside the door, we see a person standing there listening in on the doorway. He opens the doorway to see the girl in bed. The doorway is our ANCHOR to knowing that the two separate spaces are related, so this helps build our world consistency.
To break it down, if you want to break the 180 rule, you need to have anchors in your world...These anchors are just reference points that draw a relationship between the subjects and the world around them. Anything can be an anchor...the subjects themselves can also be anchors, as well as movement of a subject from one shot to another can be an anchor. You can even develop anchors in your scene to begin with, and shots there after will draw upon it even if the shots are jump cuts, as long as you've established and continue to establish the orientation and the world around the characters, your brain will naturally develop a consistency of the world they inhabit.
I propose that the front to back shot negates the 180 deg rule as communication has conditioned us to locate another's eyes or follow another's face. Since we are looking at someone's back, that "stress" is negated and we subconsciously accept the jump cut.
Like stop signs in a parking lot, the 180-degree rule is a recommendation, but not enforceable.
excellent video. educated me a lot on 180 degree rule. thank you.
You're welcome!
Excellent.... This video was amazing and useful.
Thank you.
Sameir Ali You're welcome!
WAY too complicated for newbies. I love WolfCrow, brother. Don't get me wrong. I gripped numerous union (I.A.T.S.E.) episodic TV shows in the 90s and movies in Los Angeles and the 180, referred to by pros as "The Line" ain't that complicated. A progression of shots to give an editor so they have everything they need. It's called "coverage". It's like this:
1) Master shot; all-inclusive, the geography of a bar, let's say. 2) Mini master: "pop" in a little closer, almost isolating our two characters sitting at a table, talking. 3) Two-shot: right profile and left profile; from the table top, up. Now we have established the line. 4) Pop in closer to a chest-up single (a.k.a. a Mae West; bust up) for both characters. "Dirty over" (the shoulder); the right shoulder and left shoulder of the characters with the actor you're shooting over out of focus. 5) The head only "single' and "clean of the second character.. Dialogue ends and the editor cuts in to the master as a pop out. Picture it in your head and it isn't so complicated because this "coverage" is used over and over in TV.
Awesome explain sir thank you so much
Thank you!
Great vid as always. Love the theory stuff.
Thank you!
Hi Sir...
I am an admirer of your classes. I have learnt a lot from them. My question "What would be settings(like white balance, exposure etc) for Raw shooting ... ?" I want to learn this from you. Thank you very much... Keep inspiring us...
Lots of respect and love...
Great video! Please do Philippe Rousselot
Marco M. Thanks, sure!
Good explanation, thanks for sharing!
Cinematography, a book by Kris Malkiewicz, has all the rules of filmmaking you will ever need. Don't follow your gut until master Malkiewicz and only then you will learn how to artistically break the rules.
Hello Sir, My name is Tushar Modak. I am from kolkata. Sir your tutorials are just awesome. Sir I have a request. Can you please give a little bit more examples of 180 degree rule. And if it possible please give that tutorials in hindi.
thnk you bro for the efforts
I keep watching your vids but this one left me dazed and confused:)
Jarosław Siudziński Will try to do better next time!
Sorry you got me wrong.
You did very well. You always do.
Previously, I knew what you were talking about. You always present a topic in a very interesting way. It is your manner of being well prepared. This time you showed me a different, new perspective.
A new way of seeing, that was unexpected, confusing. You made me think.
Jarosław Siudziński Thank you for the kind words!
Keep doing your job:)
Thanks for another great video! Is it possible to label the films used in the next video? Even a list of films used in the description would be helpful.
beezborz You're welcome! Not likely.
i couldnt match your words and visual perfectly.. this video left me puzzled.. and nearly took one hour to concur my previous learned concepts about 180 degree rule.. plz do it for the amatrs not for pros
Loved the video. Is there some kind of link to your short film? Would be curious to see it.
Sirjee maza agaya apki knowledge mujhe ek cricket coach se ek filmmaker banadiya apne! Bahut shukriya !! I’m from Pakistan ! Are you from India?
Great as always
Thank you!
Great video. The Dark Knight in particular is a study in frustration, when they break this rule throughout the movie and you personally feel the effects of the disorientation. Like Batman/Joker in the interrogation room. I just have to assume that they broke the "guy on one side, stays on that side" rule for effect/artistic license..... right?
Thanks!
Yep, the DP is an oscar winner. Dark knight has brilliant cinematography
Thank u so much sir. U r the best. Plz alwsys add subtitles /captions to your all upcoming videos. It will be really heplful. I am doing promotion of your channel on facebook, instagram. Keep making new videos.
Plz make a video on Godfather triology. @wolfcrow
Awesome again !
renan Thank you!
This is great, thanks!
You're welcome!
Try a best video on depth of field plz
Im from india i can't understand the language fluently but great cuts..
Great
Which movie are the "fight in the surveillance van/room" scene from?
Does anyone knows the name for the film at 8:09 ?
pls share ur shortfilm with us...
Tank3d you should find it at sareesh.com.
13:28 what movie is that?
Should have been less narrative and cover only one subject
Super confuse !!
😥😥😪
i think you over analysed a nuance in a minor rule