The 45° rule of shooting in cinematography is a fundamental guideline that refers to the positioning of the camera in relation to the subjects on screen. This rule is an essential component of cinematography and is used by filmmakers to create compelling visual narratives. The 45° rule is also known as the 180° rule, axis of action rule, or the line of action rule.
According to this rule, when filming a scene with two or more characters, the camera should always be positioned on one side of the imaginary line that connects the characters. This line is also known as the “action axis” or “line of action.” By maintaining this positioning, the filmmaker ensures that the spatial relationships between the characters remain consistent throughout the scene. This rule prevents any confusion or disorientation that may arise if the camera were to cross the action axis.
In simpler terms, the 45° rule is the concept of shooting a scene with a camera position that is neither too close nor too far from the subjects. By doing so, the filmmaker is able to maintain spatial consistency and create a sense of continuity in the narrative.
This rule is often used in dialogue scenes, where two characters are talking to each other. By keeping the camera on one side of the action axis, the filmmaker can create a sense of intimacy and proximity between the characters. This technique is particularly effective when the characters have a close relationship or when they are engaged in an emotional conversation.
The 45° rule is also commonly used in action scenes, where the camera is used to create a sense of movement and momentum. By maintaining consistent positioning, the filmmaker is able to create a sense of spatial coherence and maintain the momentum of the action.
In conclusion, the 45° rule of shooting in cinematography is a fundamental guideline that helps filmmakers maintain spatial consistency and create a sense of continuity in their visual narratives. By adhering to this rule, filmmakers are able to create compelling visual stories that engage and captivate audiences. Sources used for this article include “The Filmmaker’s Handbook” by Steven Ascher and Edward Pincus and “Cinematography: Theory and Practice” by Blain Brown.
