180-degree rule

An axis jump is a film editing, with which the action axis ( an imaginary line between two or more actors in the interview scenes view axis) is skipped. An axis jump can cause disorientation in the viewer, because the arrangement and direction of view of the actors in the frame seems to be changing relative to the viewer.

In films from moving cars the movies means from a window on the opposite side of a car axle jump: If you're shooting from the driver's side, the landscape seemingly moved from right to left; filming from the passenger side, it moves seemingly from left to right. This change in the direction of movement is irritating. Two cars in a parallel assembly in the same direction (often from left to right, because that is consistent with our reading direction ) drive, as perceived by side pursuing analog; However, if a left-to- right and the other goes from right to left, the audience can expect a collision.

In continuity editing of classic Hollywood cinema of the axis jump is considered an error and accordingly avoided.

The principle of avoiding cracks axis is called a 180-degree control.

Conscious axis jump

In some cases, may also be a deliberate stylistic device axis jump to symbolize, for example, confusion or an overturning moment; Stanley Kubrick is often mentioned in this context. Commercials axis jumps are often used to effect a rapid effect. It is also known a scene in the Lord of the Rings in which Smeagol talking to himself. As he alternately from one side to the other speaks with the sections (axis jump), gives the impression of two identical -looking people, so the split character of the figure is underlined.

Axis change

In contrast to the axis jump is in this case a movement of the camera ( or a dolly Steadicam way) about the axis, or by a change in the scan axis or the direction of view of the figures, whereby a new axis is defined. The axis change is not perceived by the viewer as disturbing because the motion takes fluently. This movement is sometimes referred to as crab. In addition, an intermediate section in a long shot to make an axis exceeded possible because as the spatial arrangement of the protagonist for the audience is clear, or cut to a closeup, as the viewer then re- spatially oriented.

Axes in the film

• The plot axis indicates the main direction of the plot. Mostly it is the combination of actors, at a football match, the connection of the gates.
• The viewing axis indicates the viewing direction. In conversations, make sure that to look at the figures, which means that if a character in a picture looking left, the interlocutor in the other image ( reverse shot ) to the right looks. This direction should not be changed as long as the real viewing direction or the position of the figures does not change.
• The camera axis is the " line of sight " of the camera. In a subjective perspective (Point Of View) it is identical with the line of sight.

• Film Design
• Post-production