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Grammar of the Shot, 2nd Edition by Christopher J. Bowen, Roy Thompson

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Frame for Correct “Look Room” on Shots that Will Edit Together

Let us say you are recording a medium shot of two people facing each other having a simple conversation. You will most likely also get coverage of tighter, clean singles, more commonly called close-ups. When you compose for the CU of the person on the left, you will most likely place their head along the 1/3 “line” on frame left, allowing them to look across the empty space over to frame right. The shot of the other character will be mirrored in its composition, with the head on frame right looking across the void to frame left. This composition mimics what the wider two-shot had already established regarding the empty space in between the two characters. The eye-lines of the talent ...

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