Circles are actors, Red Circle is the "lead". I'm moving through the storyboards as I type. Had to take some time out to do Birthday celebrations. =P
Need help with "Crossing the Line": Pics Included
- Thread starter Kholi
- Start date
Circles are actors, Red Circle is the "lead". I'm moving through the storyboards as I type. Had to take some time out to do Birthday celebrations. =P
Tom Marshall
Actor!!!!!!
Yeah, you're crossing the line, but there's a relatively simple solution:
This way, you get, relatively, the same shot, composition-wise and you're not crossing the line.
This way, you get, relatively, the same shot, composition-wise and you're not crossing the line.
Yeah, you're crossing the line, but there's a relatively simple solution:
This way, you get, relatively, the same shot, composition-wise and you're not crossing the line.
Well, the camera's still near the wall and it has to be on the other sideof the action. Imagine the 180 is drawn from left to right. So, that's what I plan to do but on the opposite side of the 180.
I'm going to try to shoot nearly straight down the center of the line edged off toward the right so I can get frontals during the exchange, then I'll get a straight-on medium on the red circle holding the object.
Tom Marshall
Actor!!!!!!
But the line goes from subject to subject which, in this case, is the red circle and the circle below that. You can't just arbitrarily pick a line and stay on one side of it. It won't work that way.
EDIT: I just realized you don't have the bottom actor in the shot to begin with. I was thinking you did. I'd have to give this one some more thought...
EDIT: I just realized you don't have the bottom actor in the shot to begin with. I was thinking you did. I'd have to give this one some more thought...
Tom Marshall
Actor!!!!!!
This will keep you on the same side of the line... you can pivot the 3 actors around the main actor if you want to get more of the wall in the shot...
gco
Veteran
Assuming the principle action is between the red dot and the actors to the left, you will definitely cross the line of action if you go to the wall and reverse the camera angle. From the viewers perspective, actors will jump from screen right to screen left and vica versa.
According to Joseph Mascelli (5 C's of Cinematography) this can be done but there needs to be some sort of action to lead the viewer through it. Maybe follow a supporting actor around to the new angle, have him look to the new angle, then reveal the principal action from the new angle??
btw the book is fantastic. a bit dry at times but full of good explanations and diagrams:
http://www.amazon.com/Five-Cs-Cinem...4644950?ie=UTF8&s=books&qid=1184773823&sr=1-1
According to Joseph Mascelli (5 C's of Cinematography) this can be done but there needs to be some sort of action to lead the viewer through it. Maybe follow a supporting actor around to the new angle, have him look to the new angle, then reveal the principal action from the new angle??
btw the book is fantastic. a bit dry at times but full of good explanations and diagrams:
http://www.amazon.com/Five-Cs-Cinem...4644950?ie=UTF8&s=books&qid=1184773823&sr=1-1
Larry Rutledge
Fest Master
What if you have people (doesn't matter who) stand in the various positions, then take a digital still camera and snap shots at various points along your intended camera move. Then you could better see how the action moves within the frame and whether or not it will disorient the viewer unacceptably.
Just a thought...if it's a lame though, please disregard without comment
Just a thought...if it's a lame though, please disregard without comment
J.R. Hudson
Spirit Animal
My thoughts are to cut to the object itself and follow it's 'toss' across to the new dude and then panning up to the new dudes reaction within the same shot
(Angels singing)
(Angels singing)
Brandon Rice
Distributed Producer
Hm. good call! I like that idea John.
Larry Rutledge
Fest Master
Woo Hoo! Only his second day back and already his brilliance is showing once again.
That's exactly it. Let the focus be the sacred object, I mean come on, it is sacred after all. Then following the object gives you the line to use for the scene the way you want it.
:thumbsup:
That's exactly it. Let the focus be the sacred object, I mean come on, it is sacred after all. Then following the object gives you the line to use for the scene the way you want it.
:thumbsup:
Beat Takeshi
Two-Hip Shakur
Actually no you havn't crossed the line yet because you established one conversation and then a second. the reverses on those is where you need to stay on the side you established.
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Drew Ott
Wish I were banned.
Tommyinla's idea is what I was thinking.
As long is you hold that shot for a couple of seconds, the line becomes drawn between the 2 top characters on the right side. Then, if switch sides, you will stay on the same side of the line; however, if you plan on going back you will have to keep the line of action going between the characters on the right, which I don't think you want.
As long is you hold that shot for a couple of seconds, the line becomes drawn between the 2 top characters on the right side. Then, if switch sides, you will stay on the same side of the line; however, if you plan on going back you will have to keep the line of action going between the characters on the right, which I don't think you want.
My brain hurts.
I've pretty much decided to push in down the center line going from left to right, with the target being pushed on as the RED DOT.
This way, both sides of the war remain on left and right sides at all times. I'll cover the actual "lob" in that single shot to try and save myself some grief on this specific exchange.
I'll just keep myself from placing the camera at the wall instead of on the opposite side.
Oh yeah and John: I thought of that, but the problem that I have is being a newb at this and not being able to have the segment blocked and done properly. Trying to throw away complication so I don't have to focus on one shot for too long.
Ty for all of the advice. y00tz guyz rocks.
I've pretty much decided to push in down the center line going from left to right, with the target being pushed on as the RED DOT.
This way, both sides of the war remain on left and right sides at all times. I'll cover the actual "lob" in that single shot to try and save myself some grief on this specific exchange.
I'll just keep myself from placing the camera at the wall instead of on the opposite side.
Oh yeah and John: I thought of that, but the problem that I have is being a newb at this and not being able to have the segment blocked and done properly. Trying to throw away complication so I don't have to focus on one shot for too long.
Ty for all of the advice. y00tz guyz rocks.
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krestofre
Knight of the Holy Order
I hate to admit, but I struggle with the line thing. I agree with Blaine's comments and am constantly diagraming shots like this and trying to determine where my line is at all times. This thread is fantastic and one of the most helpful I've seen on this site in months.
Beat Takeshi
Two-Hip Shakur
When we shot Frozen River for Spyfest, Jim, Ted and I sat there for like a half an hour trying to figure out if we crossed the line because we shot on an adapter on the HVX with no monitor so we were watching it upside down. It felt like we put both actors on the same side but we had to force ourselves to believe we did it right which we did. Watching the live action on one side and the screen with the actors flipped was confusing for this one shot for some reason.
I too agree with Blaine on line-crossing. Not to say that the rule can not be broken, but I think you should really understand a rule before you attempt to break it or it WILL look lazy and out of place.
I am trying to avoid crossing any lines like the plague, and will only get the shot from the other side as a JUST IN CASE measure. Something that I won't spend more than one take doing.
Like Kres said: VERY informative thread. Appreciate all of the feedback that came.
I am trying to avoid crossing any lines like the plague, and will only get the shot from the other side as a JUST IN CASE measure. Something that I won't spend more than one take doing.
Like Kres said: VERY informative thread. Appreciate all of the feedback that came.