How to understand the fulcrum in scene scheduling

Hello, I'm glad to answer this question for you. It is clear that "axis" refers to an assumed straight line formed by the direction of sight, the direction of movement and the relationship between them. The axis formed by the direction of sight and the direction of movement is called the direction axis, and the axis formed by the positions of two or more people is called the relationship axis. In the scene scheduling of movies, there is an invisible line when dealing with the action direction and communication between characters. This line is called "action axis" in movie terminology. Meaning: 1 Action axis is the guarantee to make the character's behavior logical and the picture composition reasonable, so that the audience can't understand the purpose of the character's behavior, the place where the character's action takes place and the direction of the action. 2. In the shot scheduling of the scene, the changing range of camera position and the shooting angle of adjacent shots are limited by the axis. Otherwise, it will cause difficulties for later editing. When shooting people or things with strong directionality, there is often an imaginary axis, and the camera should be set on one side of the imaginary axis, that is, within 180, to ensure the correct processing of the direction of people or things in the picture. 3. The theme characters should pay attention to the general direction of shooting when entering and leaving the picture, and shoot from one side of the axis, otherwise the main objects will "crash" when the two pictures are connected together, which makes people feel abrupt. 4. When shooting, if the camera position is always on the same side of the main motion axis, then the motion direction and placement direction of the picture are the same, and the audience will feel natural. Otherwise, it will cause "jumping axis", which makes people feel abrupt, and the image of jumping axis can not be assembled except for special purposes. 5. In the early shooting, because the cameraman didn't fully realize that the axis is interesting, or even if the axis principle was established and observed in the early shooting, the original lens order needs to be disrupted and reassembled in the later editing, and the phenomenon of "jumping axis" may appear. If this problem is not solved, it will cause confusion in the understanding of the audience.