Definition
What is a shot/reverse shot?
Shot/reverse shot is an editing pattern that alternates between one view of a subject and a reverse view from the opposite side of the interaction. It is commonly used for dialogue, showing each speaker in turn while keeping their screen direction and eyelines consistent.
The pattern often uses matching over-the-shoulder shots or complementary single shots. One character appears to look screen right and the other screen left, so the audience reads them as facing each other even though each setup may have been filmed separately. The editor can vary the duration and closeness of each shot to favor a reaction, a line, or a shift in power.
Shot/reverse shot works best when it grows from usable coverage rather than rigid alternation. A two-shot can establish the relationship; cutaways can reveal subtext; staying on a listener can make the speaker’s words land harder. Consistent lens choices, eye height, screen direction, and performance timing make the cuts feel like a single shared space.
Example in the edit
A job candidate answers a question in an over-the-shoulder shot from behind the interviewer. The edit cuts to the interviewer’s reverse angle as they quietly react, then returns to the candidate for the next line.
Why editors use it
Shot/reverse shot is a foundational tool for clear, engaging dialogue. It lets editors direct attention between speech and reaction while preserving the geography of the conversation.
Quick answers
Frequently asked questions about Shot/reverse shot
Is shot/reverse shot only for conversations?
No. It can alternate between any opposing or interacting subjects, but dialogue is its most common use because it clearly presents speaking and listening.
How is shot/reverse shot different from a two-shot?
A two-shot shows both subjects in one frame. Shot/reverse shot cuts between separate views of the subjects, which lets the editor emphasize individual lines and reactions.
Why should the camera stay on one side of the action?
Keeping the camera on one side of the axis preserves screen direction and opposing eyelines. Crossing it without re-establishing the scene can make the subjects seem to face the same way.