Shane Foster

I don't like the term 180degree line because it simply isn't there. It's not a line. It's not a geometric shape... For this reason I call it an eyeline. It isn't determined by camera placement, or by actor blocking. It is determined by where the characters are looking. If you are standing there having a conversation with 2 other people, when they are talking, you are on one side of them. You remain on this side if you or they stand still. So it makes sense that Person A (to your left) talking to person B (to your right) is looking at person B, then they are facing to the right of you... camera right. Likewise person B is looking at person A so they are facing to the left of you. This is what makes that cut ok. It's as if you stepped forward to see their face a bit more and are turning your head back and forth through out the conversation. What happens if Person B looks off to your right as a friend shows up from behind you? Well naturally you turn around and look off to the side (logically your right side) and see your friend approaching. This has just established a new eyeline because person B has crossed the camera with his eyes. The same is true if Person B walks to your left side (effectively crossing the 180/eyeline) or if you walk around, or between them moving to the other side. (the camera crossing the 180/eyeline) There are many great films that use this for more dynamic shooting. Crossing the 180/eyeline is an amazing tool as long as you know how to manipulate it so you aren't confusing the audience... Unless you want to. :) Anyway, I like to think of it as an eyeline because I think of the camera as an active character in the film... In fact it is... it is the audiences character!

For a night driving scene, I just parked the car facing a white wall. This provided great bounce light. Then I pulled another car behind it to get the proper light reflecting on the actor from the mirrors. Then I had some crew run in front of the lights of the car the actor was in, and in front of the car parked behind the actor. I also had the actor move ever so slightly as they were acting out the scene giving the look of vibration. The camera shot was from the passenger side and it was too dark out the drivers side window to see anything and the slight movement of light on the actor drew your attention away from what was out the window. Now this probably wouldn't work in a city driving scene, but it looked great. As far as day goes, I usually just put the camera down low shooting up towards a blue sky and have the CG guys put in a cloud moving slowly. You're limited in the type of shot, but it works! HEY what can I say, I'm a poor man!