180 Degree Rule and How to use it like a champ.

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

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: https://youtu.be/byc99upOZK8?t=1m20s Thanks for your great videos!

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.

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 YouTube, 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!

You can really do whatever you want, jump the line, jump cut etc.. as long as you don't confuse the audience.

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. :)

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.

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

You are one of the best online film teachers

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!

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.

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.

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. 😂

That was 16 minutes well spent... thank you.

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.