EN: Eyeline matching
A term used to point to the continuity editing practice ensuring the logic of the look or gaze. In other words, eyeline matching is based on the belief in mainstream cinema that when a character looks into off-screen space the spectator expects to see what he or she is looking at. Thus there will be a cut to show what is being looked at:: object | view | another character | Eyeline then refers to the trajectory of the looking eye. The eyeline match creates order and meaning in cinematic space. Thus, for example, character A will look off-screen at character B. Cut to character B, who-if she or he is in the same room and engaged in an exchange either of glances or words with character A-will return that look and so certify that character A is indeed in the space from which we first saw her or him look. This stabilising is true in the other primary use of the eyeline match which is the shot/reverse angle shot, also known as the reverse angle shot, commonly used in close-up dialogue secenes. The camera adopts the eyeline trajectory of the interlocutor looking at the other person as she or he speaks, then switches to the other person s position and does the same.
Spring Hurst Cine
A technique used in visual effects to make sure an actor is looking at the face of the character/creature to be inserted later. One approach, used on Stuart Little (1999), is to sync a laser to the camera so that it is on only when the shutter is closed, and makes a dot where the creature s eyes would be. More commonly, a grip holds a target on a pole.
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A type of editorial match involving two, subsequent shots in which shot 1 contains an agent (a person, animal, etc.) gazing in the direction of some unseen, off-screen vision, and shot 2 contains an image presumed by the spectator to be the object of the agent s gaze.
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