January 6, 2013 at 9:14 PM #5811
Author Topic: Session 3: Reverse Shot Q DerekMember
Session 3: Reverse Shot Q
on: August 23, 2010, 17:06
Just getting to watch the recorded session, and my thought about the reverse shot is that basically we’re saying that Character A has walked ‘past’ Character B but we’re picking up the action a few beats later, maybe in the previous shot having already seen Char A cover the distance?
In other words, if we were to cut to the new cam position prior to CharA walking off, then he/she/it’d cross in front of char B, Rt to Lt (by your examples)
The point is that we’re acting as director and editor then, making choices as to where one shot is left for the next, so the relationships aren’t really arbitrary. They’ll give a sense of pacing, character relationship (at what point in the conversation do we leave someone behind or pick up with someone, why, how, what kind of empathy do we have with them, etc), even at this stage.
Back to watching, and thanks Sergio.
Re: Session 3: Reverse Shot Q
on: August 26, 2010, 13:37
Good question here. Let’s simplify things a bit. In the example I showed, I didn’t intend for any character movement. If you just look at the characters in their locked positions, and you switch the camera from behind them to in front of them you create a reverse shot. It’s really a simple matter of maintaining the screen position of the characters in the frame. If we establish character A on the left then we should maintain his position on the left throughout the scene. A reverse shot, which essentially is crossing the 180 has a tendency to flop screen positions of the characters. This can be confusing to the audience in some cases. In my example, a better way to handle it is simply to favor the camera on the 180 axis and maintain the characters screen position as character A on the left.
If you are showing character movement in your shots, then it is perfectly fine to show the character walk from one side of the screen to the other. One trick is to begin the character walking from one side of the screen to the other in the first shot. Then cut to shot two where the character might begin in a neutral position in the frame and finish walking to the other side of the screen. The key here is to show the audience that the character has switched screen positions.
On another note, remember that screen direction is even more important than physical accuracy on set. This means it’s okay if it’s completely illogical in your physical set that one character suddenly appear on the other side of the set, but this maintains the screen direction of your shots. What is more important is that the screen position be maintained to your audience even if it means taking creative license with your set and camera position. Pay close attention to movies, they use this trick all the time.
Hope this helps!
Storyboard Artist currently working on an independent live action feature. DerekMember
Re: Session 3: Reverse Shot Q
on: September 7, 2010, 17:17
Cool, totally helps. Thanks Sergio!
You must be logged in to reply to this topic.