2. Match on Action
In this scene we have an example of ‘Match on Action’ in which the character is seen to be walking
towards a room and opening the door, the shot is done with the camera on the outside of the room.
Just as he grabs the door handle the scene cuts to another shot from the inside of the room as you
watch the character enter. If you only have on camera (like us) then you have to shoot each shot
individually, this means paying exquisite attention to detail for inbetween shooting small things
such as positioning of props or hair styles can be altered which would create confusion amongst
the audience and be seen a filming error.
3. Match on Action
(Non-Diegetic Sound)
In these two scenes we have an example of ‘Match on Action’ but with sound. In the first shot
shown the character is seen to be pressing play on the phone, as he does this the music (diegetic at
this point) starts to play, this then becomes the backing music for the entire film. In the second shot
we see the character turn up the music on his phone, as he does this the backing track gets louder
to create more legitimacy in the film. Both these ‘match on actions’ are too give an impression os
reality.
4. 180 Degree Rule
In this scene we have an example of the ‘180 degree rule’ in which the characters are seen to be
having a conversation. The scene cuts from mid-shots on each character when they are speaking to
a wide shot with both characters facing each other, in doing this you must always follow the 180
degree rule. This is where the camera must always stay on one side of the characters because if it
goes past 180 degrees the characters will be on opposite sides causing confusion within the
audience and they may not understand the scene.
5. Shot Reverse Shot
In this scene we have an example of ‘Shot Reverse Shot’ in which the character is walking down a
corridor, the scene cuts from a shot behind the character as he walks away from the camera –
‘shot’, to a shot where the character is walking towards the camera – ‘reverse’ and then finally back
to a shot of him walking away from the camera before he turns the corner out of scene – ‘shot’.
This technique is used to excite a normally very dull shot and give the audience a better
persepective of the entire scene.
6. Eye-Line Match
In this scene we have an example of an ‘Eye-line Match’ in which the character with the gun is
facing the other character. The scene cuts from a shot of the gun-character to the other character he
is looking at, it how's the other character how the first character would see him. This is known as
an eye-line match due to the nature of the shot – it matches the eye line of one of the characters. It
is used to show the characters point of view.
7. Eye-Line Match
In this scene we have an example of an ‘Eye-line Match’ in which the character with the gun is
facing the other character. The scene cuts from a shot of the gun-character to the other character he
is looking at, it how's the other character how the first character would see him. This is known as
an eye-line match due to the nature of the shot – it matches the eye line of one of the characters. It
is used to show the characters point of view.
