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Close-ups: Find the right Camera Eyeline

In this video acting lesson for kids, teens, and young adults, you will learn about finding the right camera eyeline in your close-up. While all hosting gigs require hosts to look into the lens of the camera (in order to connect with their viewers), commercials, television and film do not have actors look into the lens as frequently, because it breaks the fourth wall. The fourth wall gives an audience the idea they are looking into a story and are not a part of it, so when the fourth wall is broken, the characters are speaking directly to their viewers.  While most television and film actors will avoid looking into the lens, it’s important to take the director’s notes, so that both of your eyes can be seen (unless, he or she has a more artistic vision).

Hi there. I’m Ms. Mae Ross from 321 Acting Studios, which I own and direct here in Los Angeles and thanks for stopping by. Today our little lesson is a guessing game. What I want you to guess is what this is that you find on the set. This is something you find on the set and what is it? No, it’s not target practice for the grips.This is how large your lens is on the cameras for TV and film.

It’s very difficult for many actor not to look into the lens. That’s something you don’t want to do if you’re in a scene. So let’s say the lens is right here and they want to do an extreme close up. You have to be very careful not to look into it. Now what I’m going to do now is look into this lens and I want you to tell me when is it that I’m looking into the lens and when I’m not looking into the lens.

Am I looking into the lens right now? And I want you to catch when I look into the lens very briefly. It’s called a hairline in the business. Am I looking into the lens now? Am I looking now? Where do you see the hairline when I went in? That’s really important. Now I can look at you again. Thank you for coming so this is a lesson and you now I would honestly have your children practice with something like this so that they can learn to look everywhere around the camera but not into the actual lens because that’s not what the director wants.

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