180 Degree Rule Clarification

[Bonedog]

Well I thought I had the 180 rule under my belt but now I'm not so sure. Does it apply only when cutting from shot to shot, or does it apply to the entire scene. Lets say a character is walking down a road. I know if I shoot a profile of him on his right side, I can't cut to a shot from his left side. But could I "work my way around" to eventually shoot his left side later in the scene, perhaps by getting a frontal 0 degree shot? Or would that still jar the viewer? I would just try it and see for my self, but I think I'd feel like it was jarring no matter what since I'd be looking for it.

 

[David Jimerson]

Sure, there are plenty of ways of establishing new lines. You aren't stuck on one side for the duration of a scene as long as you can move in a way which isn't confusing.

Also, most of the time, if you cut away from the scene to a new location and then return, you can come back on a new angle. Sometimes it doesn't work, but most of the time.

As with anything, though, the 180-degree rule is a guideline, not a concrete rule. You just want to avoid confusing or distracting the audience (unless the story calls for it, of course).

 

[rsbush]

But could I "work my way around" to eventually shoot his left side later in the scene, perhaps by getting a frontal 0 degree shot?

You are correct. You use neutral movement (up/down) on screen to change the line.

 

[Jordan Scott Price]

Watch any TV drama with more than 2 people in the room. House is one of the few shows I watch now, so it's the first that comes to mind.

When House is talking to his team (3-4 people), they cut to shots across the 180-degree line all the time, but it is never confusing or disorienting because the shots are composed in a way that the audience understands the angle and knows where that actor is in relation to the scene's stage and to the person they're talking to (usually House). In these cases, where the set is familiar and understood (House's office is seen in every episode), eye-line is the most important thing, not necessarily maintaining screen direction.

The 180-degree rule is meant to prevent disorientation in a scene, but it can be broken in every other shot as long as the angle can be understood by the viewer.

 

[maranfilms]

180 is easy to break as long as you show the audience you going over the line, as in steadicam, dolly, whatever. But this is the easiest way not to disorient the audience. they need to see the actual move to work, or like the above poster stated, do a cut away then return with your new angle. As long as it's more than a 30 degree move.

 

[yrpfilms]

Dont forget that the 180 line is the "line of action". So if someone is walking, the "line" runs in the direction he is walking.

A rule of thumb is that you can cross the line in single continuous shots, or when cutting as long as you "step on the line" you can get away with cutting to the other side of the line.

Also, when and if you do cross the line, all addition coverage you cut to should be on the side you cut from.