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of two actors in a scene would be shot on the same lens with the camera placed at a matching height (either the same height, or at the off-camera actor's height or the on-camera actor's height) and distance, with the off-camera actor positioned equidistant from the lens and on opposite sides so that
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system. It is based on the premise that an audience will want to see what the character on-screen is seeing. An eyeline match begins with a character looking at something off-screen, followed by a cut of another object or person: for example, a shot showing a man looking off-screen is followed by a
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shots of characters within a scene such that, when these shots are cut together, each of the characters appear to be looking at the correct character, without any confusion. Factors influencing the position of the off-camera eyeline (usually by placing the other actors off camera but sometimes by
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shot of a television. Given the audience's initial interest in the man's gaze, it is generally implied on the basis of the second shot that the man in the first was looking at the television, even though the man is never seen looking at the television within the same shot.
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71:, is confined to his apartment and often looks out its rear window at events in the buildings across from him. Hitchcock frequently cuts from Stewart looking off-screen to various people and events that are assumed to be the focus of his gaze.
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Eyeline match also refers to the practice of setting off-camera eyelines for
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The five C's of cinematography: motion picture filming techniques
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giving the on-camera actor a mark to look at) include the
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This article related to television terminology is a
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50:is a film editing technique associated with the
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115:Television: Critical Methods and Applications
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118:. Lawrence Erlbaum Associates.
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42:'s character and a clock tower
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689:This filmmaking article is a
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746:. You can help Knowledge by
693:. You can help Knowledge by
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92:looks off camera right and
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112:Jeremy G Butler (2001).
38:(1946) between shots of
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798:Television terminology
641:Video editing software
615:Post-classical editing
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32:An eyeline match from
16:Film editing technique
610:Soviet montage theory
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808:Cinematic techniques
630:Linear video editing
267:Attentional control
635:Non-linear editing
605:Continuity editing
184:Joseph V. Mascelli
85:matching close-ups
52:continuity editing
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40:Edward G. Robinson
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656:Real-time editing
620:In-camera editing
557:Establishing shot
468:Shot/reverse shot
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313:Multiple exposure
142:. Yale University
125:978-0-8058-4209-8
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813:Filmmaking stubs
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748:expanding it
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503:Slow cutting
477:Flashforward
463:Contrast cut
451:Storytelling
423:Fast cutting
323:Split screen
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277:Parallel cut
257:Choreography
243:Film editing
201:– via
196:. Retrieved
194:. Cine Grafi
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144:. Retrieved
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35:The Stranger
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402:Slow motion
368:Timelapsing
272:Master shot
64:Rear Window
787:Categories
328:Transition
198:2012-03-18
100:References
562:Long take
498:Cross cut
493:Smash cut
473:Flashback
385:Axial cut
354:Long shot
349:Match cut
337:Insertion
286:Technique
438:Supercut
397:Dissolve
380:Jump cut
344:Dialogue
186:(1965).
168:30 March
146:30 March
598:Editing
577:Footage
433:Montage
298:Cutaway
250:Concept
94:Actor B
90:Actor A
582:B-roll
486:Action
407:Prelap
359:Insert
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76:single
637:(NLE)
416:Other
293:Clues
164:. MIT
744:stub
691:stub
538:Term
517:Rule
392:Wipe
170:2010
148:2010
120:ISBN
375:Cut
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.