When you\u2019re working in film and video<\/strong>, whether that means\u00a0documentaries, corporate videos, or narrative features<\/strong>, it\u2019s important to understand what eyelines are and how they\u00a0affect your production<\/strong>. It may seem innocuous when you’re filming, but once you get into your edit,\u00a0you may find that eyelines can be inconsistent, awkward, and even obtrusive<\/strong>.\u00a0Let\u2019s go over some ways to keep your eyes in line<\/strong>.<\/p>\n If you look at many of your favorite documentaries<\/strong> (or even brand or corporate videos), you\u2019ll often notice that the interview subjects do not\u00a0<\/strong>look directly into the camera. If they do, it seems like they’re speaking directly to you, which can be awkward.<\/p>\n Instead, it\u2019s\u00a0usually better to angle\u00a0interview subjects anywhere between 15-45-degrees away from the camera<\/strong>. If you\u2019re actively interviewing the subject, try setting your interviewer or producer (or yourself if you have to) on that angle<\/strong> to give them someone steady and consistent to look at. Here are some good interview setup resources<\/strong> to check out.<\/p>\n Another hallmark of many corporate and commercial video productions<\/strong> is a subject or character who\u00a0speaks directly into the camera<\/strong>. While this seems simple in terms of eyelines, it can get tricky once you start introducing elements like teleprompters or cue cards.<\/p>\n Teleprompters are ideal if your subject needs cues or lines to work from \u2014\u00a0<\/strong>although you should always check in your viewfinder to make sure the eyeline looks straight and that the teleprompter is balanced properly<\/strong>. If you don\u2019t have a teleprompter, you may be tempted to make cue cards for your subject<\/strong>. This can get tricky because while it may make sense to put those cards as close to the camera as possible, if you don\u2019t thoroughly review the eyeline<\/strong> you may find once you get into the edit that your subject is obviously looking a few inches above or to the side of the camera<\/strong>, which is quite awkward.<\/p>\n If this is your only option, it\u2019s best to coach your subject to keep their eyes focused on the camera and to try and to read the cues with their peripheral vision<\/strong>\u00a0(much the same way as a news anchor who doesn\u2019t let their eyes follow teleprompter lines).<\/p>\n Narrative films often rely on the concept of eyeline match<\/strong>, which is as much an associative psychological concept as a continuity editing one. Basically, when you show a character on-screen and their eyeline focuses on something off-screen<\/strong>, whatever you cut to next, the audience will perceive it as the object of the character’s attention. <\/strong>The often-cited example of this comes from cinema master Alfred Hitchcock<\/a> and his use of eyeline matching in Rear Window<\/em><\/a>.<\/p>\nInterview Eyelines<\/b><\/h3>\n
![\"\"](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/10\/Interview-Setup.jpg\")
<\/a>Image via AWC Media<\/a>.<\/em><\/p>\n\n
Eyelines Directly into the Camera<\/b><\/h3>\n
![\"\"](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/10\/Direct-Into-Camera.jpg\")
<\/a>Image via Creative Eye Productions<\/a>.<\/em><\/p>\n\n
Eyeline Match<\/b><\/h3>\n
![\"\"](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/10\/Eyeline-Match.jpg\")
<\/a>Image via Art Office<\/a>.<\/em><\/p>\n