. Manipulating Cinematic Geography Trends in filmmaking are changing the rule Avoid noticeable disruption in your shot flow There are some cases when you can manipulate the camera on either side of the line of action, but you need to work with audience perceptions of how film should work. If they are used to seeing things a certain way, they will expect it to look a certain way all of the time. If a shot seems illogical or too radical in its framing or composition, the audience may not believe the shot or it may seem too “jarring”. However, audiences are much more open minded to different shot sequences then they were in the 60’s. Take a look at the following shot for example.         Notice how the cameras on this shot are located ON the line of action. In this case the camera may even be able to cross the line of action slightly without disorienting the viewer. Again, actor placement plays a big role in each shot. If we changed the positioning of the actor so his back was facing us in one shot and his front facing us in the second shot it would make it easier for the audience to place the actor in their cinematic geography since we wouldn’t have used a profile shot. This would allow the audience to clearly see the positioning of the man in the space he is standing. Audiences are learning to accept cuts and transitions like these. Try to visualize it in your own head before starting the filming sequence. If it appears logical and follows the rules of continuity then try it out.   Continue Below... Re-Establishing Shot Bridging Shots Without a Pivot Shot Manipulating Cinematic Geography Exploring Temporal Connections Lev Kuleshov Experiment Constructing Scenes Using Q and A without Dialogue How Much to Feed Your Audience More About Q and A and Cause and Effect Cutting in the Camera Vs. Open Approach       .

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