Axis jump (film)

An axis jump is an average film , with which the action axis (an imaginary line between two or more actors, scenes interview with the visual axis) is skipped. An axis step may cause disorientation in the viewer, as the arrangement and orientation of the actors in the frame appear to change relative to the viewer.

With films from moving cars, the movies means of a window on the opposite car side one axis jump (if you're shooting from the driver's side, the landscape is moving apparently from right to left, there are filmed from the passenger side, they will seem to move from left to right. This change in the direction of movement is irritating). Analogously, there are two cars that in a parallel montage traveling in the same direction (usually from left to right, because that is consistent with our reading direction) is perceived as mutually pursuing if one but from left to right and the other from the right moves to the left, expecting the audience a collision.

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

The principle is to avoid axis jumps, 180-degree rule called.

In some cases, a conscious leap axis be a stylistic device, for example, to symbolize confusion or breakdown torque ( Stanley Kubrick , in this context is often called). In commercials axis jumps are often used to effect a rapid effect. Also known is a scene in Lord of the Rings , in which Smeagol talks to himself. As he alternately with the cuts from one to the other side says (jump axis), the impression of two identical-looking people, so the split character of the figure is underlined.

In contrast to the jump axis, these are a movement of the camera ( Steadicam or dolly ride ) on the axis, or a change to the motion axis and the line of sight of the characters, creating a new axis is defined. The axis change is not perceived by the viewer as a nuisance, because the fluid motion takes place. This movement is sometimes called Crab. In addition, an intermediate section in a long shot to make possible an axle out because then the spatial arrangement of the protagonists for the audience is clear, or cut to a closeup , because the viewer is then reoriented in space again.

The action 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 visual axis indicates the viewing direction. In conversations, make sure that the characters look, which means that when a figure in an image to the left, looks the interlocutor in the other image (reverse shot) looks to the right. This direction should not be changed as long as the actual viewing direction or the position of the figures does not change.
The camera axis is the "sight" of the camera. In a subjective perspective (Point Of View), it is identical with the visual axis.


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