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Old 11-15-2017, 06:39 PM   #16
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Based on the coverage, I can't really see why you'd necessarily need to cross the line in this scene. Keep in mind, the line between the two people is not established until the second person walks in. Before that, the lines is perhaps between Person A and the desk, for example. Of course, as you're not shooting matching coverage of the desk (generally), and the desk doesn't have eyes (generally - you may be shooting a zany comedy), crossing that line is often not a problem at all.

I don't know what the blocking is, so I can't advise you specifically too much unless/until I have a better idea of the blocking.

In more general terms, as directorik says, make sure the eyelines work and you'll be okay. That said, crossing the line can disorient much more than just eyelines, so keep that in mind. Sometimes it works, or is intended, other times it doesn't. Depends on the scene.
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Old 11-15-2017, 08:01 PM   #17
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I was somewhat referring to moving across the street as mentioned
above. I just wouldn't have wasted the effort in moving the equipment
and such for a shot that could be taken on the same side of the street
given different angles, close-ups, pans, and zooms. Time is money
regardless of the rule here. However, I agree an experienced filmmaker
can make a mistake, this is a good example why storyboarding, and
daily rushes can eliminate some of these shots and cut time and cost
of production.

Originally Posted by directorik View Post
Why is that beyond you? People who post here are at different
levels of experience. For me it took some experimentation and
mistakes to grasp screen direction.

On one of my very first films we shot a chase scene. At one point
we found a great angle and shot the people running. It wasn't
until the editing that I noticed that one shot made it look like they
had suddenly turned around. I actually made that mistake several
times as I was learning and building my level of experience.

I still sometimes struggle with the "180 degree rule". Less so
these days with moving but often with small rooms. What has helped
me is keeping track of the eyeline. Technically that rule CAN be broken
with one person; a master shot of them sitting at a desk where the
window is clearly to their right. A close up where they look to their
left to gaze out the window. For you it may be innate or it may be
because of your experience but to some filmmakers it isn't that
easy to keep track.
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