All language subtitles for 4. Over-the-shoulder shots

The most traditional
approach when shooting a dialog scene

between two or more characters is over
the shoulder or Oates

to cut between one character and another.

We need different angles of coverage,
so we place the camera

directly behind the shoulder
of one of the characters,

blocking a small part of the frame
and adding additional depth.

The main character would be facing
the camera.

The 180 degree rule, also known

as the line of Action,
is simply a way to organize

camera angles to preserve
consistent screen direction in space.

In practical terms,
the camera should always be placed

on only one side of an imaginary line
created by the moving direction

or sometimes
looking direction of our actors.

If we break this rule
or we cross the line,

our editor most likely
will have a hard time matching shots.

Here we can see how disorganized
a dialog scene can feel.

If the 180 degree rule is not followed,

this would be more

appropriate angles
to cover the scene, much less confusing.

The over-the-shoulder
shot is also known as the single,

and it is usually composed with medium
shots.

Medium close ups and close ups
where we place the camera in relation

to our subject's eyeline
should always be a key consideration.

Even a few inches
can make a big difference.

Think about this
The closer an actor's eyeline

is to the camera,
the closer the eyeline is to the viewer.

So we should position our camera,
depending on how much attachment

we want from the viewer to the subject.

When we see at someone's eye level,
we can relate to them and establish

if we like
or trust them in a clean single.

The subject is almost looking
directly into the lens.

We often use a flag or light
stand as close to the side of the lens

as possible and direct
the actor to look at and talk to it.

It is a bit odd
for nonprofessional actors, but it works.

Placing our camera above or below

the eyeline can also have significantly
different psychological messages.