Camcorder Masterclass Index
Crossing the line

Once upon a time I bored Ron by showing him a video copy of a very old cine film about a cruise on the Rhine. He politely commented that he wasn't aware that the Rhine continually doubled back on itself - at least that's what it looked like on the screen.

Of course, generally it isn't like that. I was eager to shoot anything worth seeing along the river banks and this meant that I frequently crossed from port to starboard, and back, shooting away merrily as we meandered along. When edited together the scenery filmed from the port side indicated that we were moving from left to right of the frame whilst, if the next shot was taken from starboard, our movement was in the opposite direction.

What Ron had witnessed was my ignorance of the rule "don't cross the line", This line is an imaginary one drawn between the subject and the direction of travel. In the case of the ship the line ran through the middle from bow to stern. Unless you know what you are doing this line shouldn't be crossed, all shots being taken from one side of it only.

How to cross safely

However, the above would be unnecessarily restrictive so here's how to get round it, without confusing the viewer. Let's illustrate with a more mundane situation, a person walking along a footpath. The camcorder is positioned so that the youth is moving from the left of the screen (or frame) towards the right. If shooting stops and is resumed with the camcorder an the other side of the path the direction of travel is now switched from right to left Edited together these shots cast doubt on the geography of the situation. If you want to film from both sides of the line, then there are several ways of avoiding audience confusion:

1. Whilst shooting from the first position keep the camcorder running as the subject crosses the line to change direction. This is OK provided that it doesn't take too long.

2. After shooting from that first position, stop and reposition the camcorder in the middle of the path, facing the subject head-on or from or behind him. Thereafter you may shoot from the other side.

3. At the editing stage sandwich cutaways or cut-ins between the crossed the line shots. This will distract audience attention. These shots might also be incorporated with the head-on or tail-away shots at (2).

4. Consider a tracking shot, keeping the camcorder running whilst you cross the line. Obviously camera shake must be avoided but, properly controlled, this can be very effective, especially where the subject is not actually travelling, e.g. a static wedding group etc.