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Crossing the 180-degree line is acceptable when done intentionally for creative reasons or when the camera moves overtly to the other side of the axis so the audience can follow the transition, thus resetting the line.

A director may intentionally break the 180-degree rule to create a sense of disorientation, confusion, or to show a character's mental state. It can be a deliberate stylistic choice.

In a chase scene, keep the camera on one side of an imaginary line that follows the direction of the chase. This will ensure the characters are always moving in the same direction on screen, preserving spatial continuity.

With more than two characters, the 180-degree rule still applies. Determine the central axis of the scene and keep the camera on one side of that axis, maintaining the spatial relationships between all characters.

To apply the 180-degree rule, choose an axis or line that runs between the two actors and place the camera on only one side of that line for every shot in the scene.

The 180-degree rule is a filmmaking guideline that states two characters in a scene should maintain the same left/right relationship to one another. When the camera passes over the invisible 180-degree line, it can disorient the viewer and disrupt the scene's visual logic.

When a character is looking into a mirror, the 180-degree rule ensures that their reflection appears correctly oriented. Keep the camera on one side of the line of action, which is the direction the character is facing.

If the 180-degree rule has been broken during filming, you can try to fix it in editing by using cutaway shots, reordering scenes, or flipping the image in post-production to maintain consistent screen direction.

The 180-degree rule was broken if the cars switch screen positions after a cut. To correct this, either avoid crossing the line during shooting or flip the footage in post to maintain consistent screen direction.