Under what circumstances can the lens be off-axis in audio-visual language?

Off-axis is a taboo in film shooting and editing. So, are there any exceptions? Yes In reality, once the off-axis lens is accidentally produced in the shooting, the post-editing staff must find ways to make up for it. Even in some movies and TV series, editors will deliberately use off-axis lenses to make some special effects. This intentional off-axis (off-axis) is also called reasonable off-axis in terminology.

Common techniques are as follows:

First, the movement of the main body is used to cross the axis. Between two lenses moving in opposite directions, insert a lens that changes the moving route of the subject. For example, between two shots showing two people jumping off the axis, insert a picture in which one of them walks to the other side or walks to the other side, so that the shots can be changed smoothly.

Second, use the subjective lens to cross the axis. Subjective shot, that is, the shot that represents the line of sight of the characters in the picture. The subjective lens is inserted between the two lenses whose main body position is reversed, guiding the audience to observe and feel things with the line of sight of the characters in the picture, thus alleviating the sense of off-axis. It is also possible to insert a shot in which a person's line of sight changes between two shots in which the object moves in opposite directions. For example, take a shot where a person turns his head and his line of sight changes from right to left as an interval, so that the shot showing the scene outside the car passing from left to right can smoothly transition to the shot where the scene moves from right to left.

Third, use the moving lens to cross the axis. In the middle of two shots where the conversation position relationship between two people is reversed or the main body moves in the opposite direction, the moving lens shot by the camera during the process of crossing the axis is inserted, thus establishing a new axis and making the transition between the two shots smooth.

Fourth, use a neutral lens to cross the axis. Neutral lens, that is, a lens shot while riding on an axis, in which the moving subject comes face to face or goes back. Inserting a neutral lens between two lenses whose main bodies move in opposite directions can weaken the sense of conflict in opposite movements.

Fifth, use the close-up lens to cross the axis. Highlighting the close-up of local or character's emotional reaction can temporarily concentrate people's attention and weaken or eliminate the sense of conflict during exercise.

Sixth, insert a telephoto lens. In panorama or vision, the dynamic sense of the moving body is weakened and the image is not obvious. Therefore, inserting a panoramic or farsighted lens between two slow lenses in opposite directions can dilute people's visual attention, thus weakening the sense of conflict in opposite directions.

Seven, the use of multi-axis shaft. When the main body has more than two axes, the lens can pass through one axis and get a new angle from the other axis.

The above are several reasonable ways to cross the shaft. In particular, unless you are an experienced editor, don't try to assemble off-axis pictures reasonably and easily. If you are an entry-level rookie, you must remember that crossing the axis is a taboo, and be careful not to cross the line! First, the inside backhand angle and the outside backhand angle.

On one side of the relationship axis, the positions of the two lenses are basically opposite, and each lens takes a character, which is called the internal backhand angle. Click on the video below. The shooting directions of the two lenses are basically opposite, which is called the external backhand angle. Click on the video below. The angle of backhand and backhand is a subjective angle, which represents the subjective vision of the characters in the play to observe each other. If actor A stands tall and actor B stands low, their subjective angles are different when shooting the dialogue between two people.

It is necessary to shoot the high A with elevation angle and the low B with elevation angle, so that the two shots can show the subjective vision of the characters in the play.

The external backhand angle is an objective angle, which represents the director's and camera's angle, and also represents the audience's angle to introduce the subject objectively. The external backhand angle is often used to express the communication between two actors. For example, in Figure 6, lens 1 has B as the foreground and lens 2 has B as the foreground. When shooting close-ups and close-ups, the actors in the foreground only take a part to highlight the subject. The combination of inside backhand and outside angle is the most commonly used shooting scheduling method. This angle is often used when shooting a host or a reporter to interview someone. This is the usual over-the-shoulder shot. It is not advisable to show your eyes when shooting the over-the-shoulder lens, so as not to steal the audience's sight of the protagonist.

In a word, the triangle layout of outer backhand, inner backhand and parallel triangle layout can form a variety of triangle layouts, and can form TV pictures of various scenes and angles.

Using the triangle principle to shoot TV pictures is convenient for dealing with scene scheduling, especially in interviews.