Copyright Goodheart-Willcox Co., Inc. 504 Journalism: Publishing Across Media the silence of a place, remembering that places are never really silent. To capture other natural sounds, you will need to get your microphone close—very close, within fi ve or six inches—of the source. This may mean capturing audio separately from your video, then using your video editing program to layer over the video on a separate audio track. Axis Line Axis Line Videographers maintain the axis line when they fi lm action. Also called the 180 degree rule or the line of action, it ensures that the camera consistently fi lms from one side of the principle subject, so that a character on the camera’s right is always on the camera’s right in every shot (Figure 16.18). The dotted line is an imaginary line the videographer will not cross. If she does, she risks capturing shots that, when edited together, will confuse her audience. Figure 16.19 shows two shots of the same scene that break this rule. The audience will probably wonder if the subjects have switched places and will be confused because the videographer has crossed the axis line, or line of action. Eyeline Matching Eyeline Matching Eyeline matching is an editing technique that assumes your audience will want to see what your subject is pointing to, looking at or talking to, if it is out of the frame, and they will want to see it in the next shot. If you shoot a cheerleader with wide eyes and her hands to her mouth, the next shot should show the end-zone fumble that caused her so much anxiety. Delaying the eyeline match risks confusing or frustrating your audience. However, a slight delay may be used to create suspense. 180° Axis line Figure 16.18 Observe the axis line when filming a subject to ensure the camera consistently films from one side of the main subjects. Imagine you are filming two people having a conversation. If you cross the axis line, it will look like the two people have traded places, creating a confusing shot.