Editing Split screen (video production)

{{short description|Filmmaking technique}}

[[File:LifeOfAnAmericanFiremanqq01 12 56qq00013.jpg|thumb|An early example of split screen in ''[[Life of an American Fireman]]'' (1903)]]
[[File:Patty_Duke_Show_1964.jpg|thumb|[[Patty Duke]] in the twin roles of identical cousins, Patty and Cathy, in the TV show ''[[The Patty Duke Show]]'', an effect achieved by split screen.]]

In [[film]] and [[video]] production, '''split screen''' is the visible division of the screen, traditionally in half, but also in several simultaneous images, rupturing the illusion that the screen's frame is a seamless view of reality, similar to that of the human eye. There may or may not be an explicit borderline. Until the arrival of [[Digital electronics|digital technology]], a split screen in films was accomplished by using an [[optical printer]] to combine two or more actions filmed separately by copying them onto the same [[Negative (photography)|negative]], called the [[compositing|composite]].

In filmmaking split screen is also a technique that allows one actor to appear twice in a scene. The simplest technique is to lock down the camera and shoot the scene twice, with one "version" of the actor appearing on the left side, and the other on the right side. The seam between the two splits is intended to be invisible, making the duplication seem realistic.<ref>[http://www.mediacollege.com/video/special-effects/duplicate-actor/splitscreen.html "Duplicating Actors with a Split-Screen"]. mediacollege.com. Retrieved 2012-01-14.</ref><ref>[http://ittrainingtips.iu.edu/general-news/split-screen-in-after-effects/12/2009 "Split Screen in After Effects – It’s like looking in a mirror!"]. ittrainingtips.iu.edu. Retrieved 2012-01-14.</ref><ref>Grossman, Paul M. [http://www.digitalproducer.com/pages/split_screen_effects.htm "Double Vision"]. Digital Producer Magazine (digitalproducer.com). Retrieved 2012-01-14.</ref>

==Influences==
An influential arena for the great split screen movies of the 1960s were two [[world's fair]]s - the [[1964 New York World's Fair]], where [[Ray and Charles Eames]] had a 17-screen film they created for IBM's "Think" Pavilion (it included sections with race car driving) and the 3-division film ''[[To Be Alive!|To Be Alive]],'' by [[Francis Thompson]], which won the Academy Award that year for Best Short.  [[John Frankenheimer]] made ''Grand Prix'' after his visit to the [[1964 New York World's Fair]]. The success of these pavilions further influenced the 1967 [[Universal exhibition]] in Montreal, commonly referred to as [[Expo 67]], where multi-screen highlights included ''[[In the Labyrinth (film)|In the Labyrinth]]'', hailed by ''[[Time (magazine)|Time]]'' magazine as a "stunning visual display," their review concluding: "such visual delights as Labyrinth ... suggest that cinema—the most typical of 20th century arts—has just begun to explore its boundaries and possibilities," as well as ''[[A Place to Stand (film)|A Place to Stand]]'', which displayed [[Christopher Chapman]]'s pioneering [[Multi-Dynamic Image Technique|"multi-dynamic image technique"]] of shifting multiple images. Directors [[Norman Jewison]]  and [[Richard Fleischer]] conceived their ambitious split-screen films of 1968 after visiting Expo '67.<ref>[https://web.archive.org/web/20070516215313/http://www.time.com/time/magazine/article/0,9171,899606-2,00.html "Cinema: Magic in Montreal: The Films of Expo"]. ''[[Time (magazine)|Time]]''. July 07, 1967. Retrieved 2012-01-14.</ref>

It is also common to use this technique to simultaneously portray both participants in a telephone conversation, a long-standing convention which dates back to early silents, as in  [[Lois Weber]]'s triangular frames in her 1913 ''Suspense'', and culminating in ''[[Pillow Talk (film)|Pillow Talk]]'', where [[Doris Day]] and [[Rock Hudson]] share a party line.  So linked to this convention are the Doris Day/Rock Hudson movies that ''[[Down With Love]]'', the only slightly tongue-in-cheek homage, used split screen in several phone calls, explicitly parodying this use. In the 1971 Emmy Award-winning TV movie "Brian's Song" which portrays the story of former Chicago Bears running backs Brian Piccolo and Hall of Famer Gale Sayers, it's the night after Piccolo's second surgery and Piccolo (James Caan) is talking to Sayers (Billy Dee Williams) on the phone. There is a diagonal split screen from upper left corner to lower right corner (Piccolo on the right side and Sayers on the left). The [[BBC]] series ''[[Coupling (UK TV series)|Coupling]]'' made extensive use of split screen as one of several techniques that are unconventional for TV series, often to a humorous effect. One episode, 'Split', was even named after the use of the effect. The acclaimed Fox TV series ''[[24 (TV series)|24]]'' used split-screen extensively to depict the many simultaneous events, enhancing the show's real-time element as well as connecting its multiple storylines.

An unusual and revolutionary use of split screen as an extension to the cinematic vocabulary was invented by film director [[Roger Avary]] in ''[[The Rules of Attraction (film)|The Rules of Attraction]]'' (2002) where two separate halves of a split screen are folded together into one seamless shot through the use of [[motion control photography]]. The much acclaimed shot was examined and detailed in Bravo Television's ''Anatomy of a Scene''.

In 1975, behind the Iron Curtain, filmmaker [[Zbigniew Rybczyński|Zbigniew Rybczynski]] created his experimental film ''Nowa Książka'' (Eng. ''New Book''), where he split his screen into 9 small screens, shot on 35mm film. This innovative approach allowed him to create a fascinating continuous story of a man in a red hat and red coat. This film served as an inspiration for [[Timecode (2000 film)|''Timecode'']] by [[Mike Figgis]].

==Digital technology==
The arrival of digital video technology<ref>{{cite news |newspaper=[[The New York Times]]
   |url=https://www.nytimes.com/2005/10/13/technology/poguesposts/split-screen-magic-at-two-in-the-morning.html
   |title=Split Screen Magic at Two in the Morning
   |author=David Pogue  |date=October 13, 2005}}</ref> has made dividing the screen much easier to accomplish, and recent digital films and music videos have explored this possibility in depth. Sometimes the technique is used to show actions occurring simultaneously; ''[[Timecode (film)|Timecode]]'' (2000), by Mike Figgis, is a recent example where the combination is of four real time digital video cameras shown continuously for the duration of the film. Split-screen can also be used to the extent that it becomes part of the narrative structure of a film, as in ''The Boston Strangler''.

==Usage==

===In films===
[[File:Suspense (Lois Weber and Phillips Smalley, 1913).webm|thumb|thumbtime=5:07|start=5:00|end=5:38|''[[Suspense (1913 film)|Suspense]]'' (1913), a short thriller in which split screen is used to show a phone conversation during a home intrusion]]
Early use of split screen can be seen in [[Lois Weber]] and [[Phillips Smalley]]’s ''[[Suspense (1913 film)|Suspense]]'' (1913), where it is used to portray simultaneous actions, and in [[Yakov Protazanov]]'s ''[[The Queen of Spades (1916 film)|The Queen of Spades]]'' (1916), where one screen depicts reality and the other a character's inner desires.<ref>{{Cite web|url=https://www.bfi.org.uk/films-tv-people/4ce2b6b313a76|archive-url=https://web.archive.org/web/20170102090211/http://www.bfi.org.uk/films-tv-people/4ce2b6b313a76|url-status=dead|archive-date=January 2, 2017|title=PIKOVAYA DAMA (1916)|website=BFI}}</ref> This technique has been used to portray twins in such films as ''[[Wonder Man (film)|Wonder Man]]'' (1945), ''[[The Dark Mirror (1946 film)|The Dark Mirror]]'' (1946), ''The Parent Trap'' (both [[The Parent Trap (1961 film)|the 1961 original]] and [[The Parent Trap (1998 film)|the 1998 remake]]), and ''[[Adaptation (film)|Adaptation]]'' (2002). In the 1961 version of ''The Parent Trap'', conversations between the twins were simulated by filming the actress ([[Hayley Mills]]) as she stood at the left of the frame facing right, then filming her again, standing at the right and facing left. The negative of the first action was placed into a printer and copied onto another negative, the composite, but this other negative was masked so that only the right part of the original picture is copied. Then the composite was rewound and the negative of the second action was copied onto the right side of each frame. On this second pass, the left side was masked to prevent double exposure. This technique is then carefully hidden by background lines, such as windows, doors, etc. to disguise the split.

In ''[[Indiscreet (1958 film)|Indiscreet]]'' (1958), the technique was famously used to bypass the censors and allow [[Cary Grant]] and [[Ingrid Bergman]] to be in bed together, and even to appear to pat her on the bottom.<ref>{{cite book | last=Glitre  | first=Kathrina | date=October 31, 2006 | page=196 | location=Manchester | publisher=[[Manchester University Press]] | title=Hollywood Romantic Comedy: States of the Union, 1934-1965 | url=https://books.google.com/books?id=Hb5rBgAAQBAJ&pg=PT196 | access-date=April 9, 2018 | isbn=0-719-07078-3 }}</ref>

Several studio-made films in the 1960s popularized the use of split screen. They include [[John Frankenheimer]]'s ''[[Grand Prix (1966 film)|Grand Prix]]'' (1966), [[Richard Fleischer]]'s ''[[The Boston Strangler (film)|The Boston Strangler]]'' (1968), and [[Norman Jewison]]'s ''[[The Thomas Crown Affair (1968 film)|The Thomas Crown Affair]]'' (1968). In the 1970s, usage continued in films like ''[[Airport (1970 film)|Airport]]'' (1970), ''[[Woodstock (film)|Woodstock]]'' (1970), ''[[The Andromeda Strain (film)|The Andromeda Strain]]'' (1971), ''[[Sisters (1973 film)|Sisters]]'' (1972), ''[[Carrie (1976 film)|Carrie]]'' (1976) and ''[[More American Graffiti]]'' (1979).

[[Title sequence]] designer [[Saul Bass]] lamented the popularity of split screen in the 1960s. Although he used it extensively in his work for ''Grand Prix'', he later claimed that it had been artistically exhausted from excessive use. According to Bass:
{{quotation|"The point is, it’s a device, and as far as I’m concerned I’ll never use it again — if it actually cries out for it, I’ll use it but as a device it’s lost its currency, because, later on, it was, unfortunately, used meaninglessly. It’s the kind of thing that grows up without ever having a youth and there’s no opportunity to explore it. On ''Grand Prix'' I took the multiple image... and carried it down the line quite a way. I think it is terrific at expressing muchness, but I suspect it’s not capable of expressing deep feeling or contemplative..."<ref>Jennifer Bass and Pat Kirkham, ''Saul Bass: A Life in Film & Design'', Laurence King Publishing, 2011, p. 406</ref>}}

[[Hans Canosa]]'s 2005 film ''[[Conversations with Other Women]]'' made extensive use of split screens. ''Conversations'' juxtaposed shot and reverse shot of two actors in the same take, captured with two cameras, for the entire movie. The film was designed to enlist the audience as perceptual editors, as they can choose to watch either character act and react in real time. While the shot/reverse shot function of split screen comprises most of the running time of the film, the filmmakers also used split screen for other spatial, temporal and emotional effects. ''Conversations''' split screen sometimes showed flashbacks of the recent or distant past juxtaposed with the present; moments imagined or hoped by the characters juxtaposed with present reality; present experience fractured into more than one emotion for a given line or action, showing an actor performing the same moment in different ways; and present and near future actions juxtaposed to accelerate the narrative in temporal overlap.

===By filmmakers===
The visionary French director, [[Abel Gance]], used the term "[[Polyvision]]" to describe his three-camera, three-projector technique for both widening and dividing the screen in his 1927 silent epic, ''[[Napoléon (1927 film)|Napoléon]]''. The filmmaker [[Brian De Palma]] has incorporated split screens into many of his films, most notably in ''[[Sisters (1973 film)|Sisters]]'' (1973) and they have since become synonymous with his filmmaking style (Specifically 1981's ''[[Blow Out]]'' and 1998's ''[[Snake Eyes (1998 film)|Snake Eyes]]'').

===In technology===
The "Interactive Olaf" bonus feature from the [[DVD]] release of ''[[Lemony Snicket's A Series of Unfortunate Events]]'' shows [[Jim Carrey]]'s makeup tests from the movie in a four-way split-screen. Viewers can split the audio by selecting which one to listen to, then pressing "ENTER" on their DVD remote. The split screen has also been simulated in video games, most notably ''[[Fahrenheit (2005 video game)|Fahrenheit]]'' where it is used to allow a player to keep track of multiple simultaneous elements relevant to the gameplay.

===In music video===
A number of music videos have made creative use of split screen presentations. In [[Michael Jackson]]'s "[[Billie Jean]]" video a number of freeze frames are shown in split screen.  Video and film director [[Michel Gondry]] has made extensive use of split screen techniques in his videos. One notable example is "Sugar Water" - [[Cibo Matto]] (1996), where one side of the screen shows the video played normally, and the other side shows the same video played backwards. Through careful and creative staging the two sides appear to interact directly - passing objects from side to side and visually referencing each other. The music video for "[[Doo Wop (That Thing)]]" by [[Lauryn Hill]] was filmed using a split screen technique, the video features Lauryn, performing the song at block parties in two different eras: the mid-1960s (The year 1967 is shown on the left of the video) and the late-1990s (The year 1998 is shown on the right).

===In television===
The split screen has also been used extensively in television programs. Newscasts often show two reporters in a split screen frame. The sitcom ''[[That '70s Show]]'', [[Nickelodeon]] teen sitcom ''[[Drake & Josh]]'', [[Disney Channel]] teen sitcom ''[[Lizzie McGuire]]'', [[USA Network]]'s ''[[Burn Notice]]'' and Fox's ''[[24 (TV series)|24]]'' made extensive use of split screens. It is sometimes used in [[game show]]s to show two contestants simultaneously, and on cable news shows, when participants in a discussion are in different locations.

Split screens are frequently used in motor racing, especially during [[safety car]] [[pit stop]]s in the [[IndyCar Series]] and [[NASCAR]], where four way splits are used, most often with three leading cars or trucks' pit stops shown on the left and a shot of the pit exit (where restart order is determined after pit stops) on the right, with some featuring just four different cars or trucks making pit stops. Often these pit stops can change the entire outcome of a race. In sports, an instant replay, highlights package, or featurette on a specific subject relating to the play may be shown in a corner while the main play is happening.

Split screens showcasing individual character reactions are a common device of Japanese [[anime]], where they imitate the panel layouts of [[manga]]. These sometimes feature more than two characters at once, and may be split at oblique angles.<ref>{{cite thesis |last=Standerwick |first=Alissa Annette |date=1 December 2021 |title=Celebrating and Practicing Aspects from Eastern- and Western-Centric Animation Styles |url=https://core.ac.uk/works/123381032 |type=MA |page=15 |institution=Clemson University |access-date=13 November 2023}}</ref>

In 2019, Snapchat's original content arm, Snap Originals, released a series called 'Two Sides', which followed a young couple as they navigated a breakup, told from both perspectives at the same time.<ref>{{Cite web|url=https://snaporiginals.snapchat.com/two-sides|title = Snap Originals}}</ref> Season Two and Season Three will be released in 2021. 

Split screens are sometimes used during commercial breaks, as in ESPN's "[[Side-By-Side (graphic)|Side-By-Side]]" coverage of racing, where one side of the screen shows race footage and the other shows advertising. This allows commercial to be shown while not interrupting coverage of race action.

Split screens are also common in [[advertising]], often to show [[comparative advertising|comparison]].

==Notable uses of split screen==
<!-- Please limit this to examples with visible division of images, not "invisible" split screens for special effects purposes (i.e., ''The Parent Trap'', ''Back to the Future Part II'') -->

{| class="wikitable"
|-
! Title
! Year
! Director
! Notes
|-
| style=white-space:nowrap | ''[[Santa Claus (1898 film)|Santa Claus]]''
| 1898
| [[George Albert Smith (film pioneer)|George Albert Smith]]
|
|-
| ''[[Life of an American Fireman]]''
| 1903
|[[Edwin S. Porter]]
|
|-
| ''[[Suspense (1913 film)|Suspense]]''
| 1913
| [[Lois Weber]]
|
|-
| ''[[The Queen of Spades (1916 film)|The Queen of Spades]]''
| 1916
| [[Yakov Protazanov]]
|
|-
| ''[[Napoléon (1927 film)|Napoléon]]''
| 1927
| [[Abel Gance]]
| Presented with three projectors in [[Polyvision]]
|-
| ''[[Pillow Talk (film)|Pillow Talk]]''
| 1959
| [[Michael Gordon (film director)|Michael Gordon]]
|
|-
| ''[[The Patty Duke Show]]''
| 1963–1966
| Various
| Television series in which the actress, [[Patty Duke]], played twin characters — identical cousins, Patty and Cathy — throughout the 105-episode run of the programme.
|-
| ''[[To Be Alive!]]''
| 1964
| {{plainlist|
* [[Alexandr Hackenschmied|Alexander Hammid]]
* Francis Thompson}}
| Short film produced for the [[1964 New York World's Fair]], presented on multiple screens
|-
| ''[[Chelsea Girls]]''
| 1966
| {{plainlist|
* [[Paul Morrissey]]
* [[Andy Warhol]]
}}
| Presented side by side with two projectors for film's entirety
|-
| ''[[Grand Prix (1966 film)|Grand Prix]]''
| 1966
| [[John Frankenheimer]]
|
|-
| ''[[A Place to Stand (film)|A Place to Stand]]''
| 1967
| [[Christopher Chapman]]
| Originally presented at [[Expo 67]]
|-
| ''[[In the Labyrinth (film)|In the Labyrinth]]''
| 1967
| {{plainlist|
* [[Roman Kroitor]]
* [[Colin Low (filmmaker)|Colin Low]]
* [[Hugh O'Connor (filmmaker)|Hugh O'Connor]]}}
| Originally presented on multiple screens at [[Expo 67]]; later reissued in a single-screen format
|-
| ''[[Col cuore in gola]]''
| 1967
| [[Tinto Brass]]
| 
|-
| ''[[Charly (1968 film)|Charly]]''
| 1968
| [[Ralph Nelson]]
| 
|-
| ''[[The Thomas Crown Affair (1968 film)|The Thomas Crown Affair]]''
| 1968
| [[Norman Jewison]]
|
|-
| ''[[The Boston Strangler (film)|The Boston Strangler]]''
| 1968
| [[Richard Fleischer]]
|
|-
| ''[[Eagles Over London]]''
| 1969
| [[Enzo G. Castellari]]
|
|-
| ''[[Airport (1970 film)|Airport]]''
| 1970
| [[George Seaton]]
|
|-
| ''[[Dionysus in '69]]''
| 1970
| [[Brian De Palma]]
| Presented side by side through optical printing for film's entirety
|-
| ''[[Multiple Sidosis]]''
| 1970
| Sid Lavarents
| Short film
|-
| ''[[Woodstock (film)|Woodstock]]''
| 1970
| [[Michael Wadleigh]]
| Documentary of the [[Woodstock]] Festival
|-
| ''[[The Andromeda Strain (film)|The Andromeda Strain]]''
| 1971
| [[Robert Wise]]
| 
|-
| ''[[Sisters (1972 film)|Sisters]]''
| 1972
| [[Brian De Palma]]
|
|-
| ''[[Wicked, Wicked]]''
| 1973
| [[Richard L. Bare]]
| Presented side by side through optical printing for film's entirety
|-
| ''[[Phantom of the Paradise]]''
| 1974
| [[Brian De Palma]]
| 
|-
|''Nowa Książka''
''(eng. New Book)''
|1975
|[[Zbigniew Rybczyński|Zbigniew Rybczynski]]
|The screen is split into nine screens, 35mm short film, 10:26, SMFF Se-Ma-For Lodz, Poland
|-
| ''[[Carrie (1976 film)|Carrie]]''
| 1976
| [[Brian De Palma]]
| 
|-
| ''[[Twilight's Last Gleaming]]''
| 1977
| [[Robert Aldrich]]
| 
|-
| ''[[Dressed to Kill (1980 film)|Dressed to Kill]]''
| 1980
| [[Brian De Palma]]
|
|-
| ''[[Blow Out]]''
| 1981
| [[Brian De Palma]]
|
|-
| ''[[Sammy and Rosie Get Laid]]''
| 1987
| [[Stephen Frears]]
|
|-
| ''[[Wall Street (1987 film)|Wall Street]]''
| 1987
| [[Oliver Stone]]
| 
|-
| ''[[The Bonfire of the Vanities (film)|The Bonfire of the Vanities]]''
| 1990
| [[Brian De Palma]]
|
|-
|''[[Repossessed (film)|Repossessed]]''
|1992
|[[Bob Logan (film director)|Bob Logan]]
|Used for comedic effect in a telephone conversation scene where one character crosses the "split" after the other person leave their phone off the hook.
|-
| ''[[Boogie Nights]]''
| 1997
| style=white-space:nowrap| [[Paul Thomas Anderson]]
|
|-
| ''[[Jackie Brown (film)|Jackie Brown]]''
| 1997
| [[Quentin Tarantino]]
|
|-
| "[[Closing Time (Semisonic song)#Music video|Closing Time]]"
| 1998
| Chris Applebaum
| Music video for the Semisonic song
|-
| ''[[Snake Eyes (1998 film)|Snake Eyes]]''
| 1998
| [[Brian De Palma]]
|
|-
| ''[[Run Lola Run]]''
| 1998
| [[Tom Tykwer]]
|
|-
| ''[[The X-Files]]''
| 1998
| Chris Carter
| Episode "[[Triangle (The X-Files)|Triangle]]"
|-
| ''[[The Virgin Suicides (film)|The Virgin Suicides]]''
| 1999
| [[Sofia Coppola]]
|-
| ''[[SpongeBob SquarePants]]''
| 1999
| [[Stephen Hillenburg]]
| Episode "Missing Identity"
|-
| ''[[The Boy Who Saw the Iceberg]]''
| 2000
| [[Paul Driessen (animator)|Paul Driessen]]
| Animated short
|-
| ''[[Requiem for a Dream]]''
| 2000
| [[Darren Aronofsky]]
|
|-
| ''[[Snatch (film)|Snatch]]''
| 2000
| [[Guy Ritchie]]
|
|-
| ''[[Timecode (film)|Timecode]]''
| 2000
| [[Mike Figgis]]
| Screen is split into quadrants, each showing a different sequence
|-
| ''[[24 (TV series)|24]]''
| 2001–10, 2014
| [[Stephen Hopkins (director)|Stephen Hopkins]], Various
| Television series
|-
| ''[[Femme Fatale (2002 film)|Femme Fatale]]''
| 2002
| [[Brian De Palma]]
|
|-
| ''[[Adaptation (film)|Adaptation]]''
| 2002
| [[Spike Jonze]]
|
|-
| ''[[The Rules of Attraction (film)|The Rules of Attraction]]''
| 2002
| [[Roger Avary]]
|
|-
| ''[[Spooks (TV series)|Spooks]]''
| 2002
| Various
| Television series<ref>{{cite web|url=http://film.thedigitalfix.com/content/id/5519/spooks-season-one.html|title=Film @ The Digital Fix - Spooks: Season One|work=Film @ The Digital Fix|access-date=1 February 2016}}</ref>
|-
| ''[[Down with Love]]''
| 2003
| [[Peyton Reed]]
|
|-
| ''[[Kill Bill]]''
| 2003
| [[Quentin Tarantino]]
|
|-
| ''Pretend''
| 2003
| [[Julie Talen]]
|
|-
| ''[[Hulk (film)|Hulk]]''
| 2003
| [[Ang Lee]]
|
|-
| ''[[Sexual Dependency (film)|Sexual Dependency]]''
| 2003
| Rodrigo Bellott
|
|-
| ''[[Sideways]]''
| 2004
| [[Alexander Payne]]
|
|-
| ''[[Conversations with Other Women]]''
| 2005
| [[Hans Canosa]]
|
|-
| ''[[The Tracey Fragments (film)|The Tracey Fragments]]''
| 2007
| [[Bruce McDonald (director)|Bruce McDonald]]
|
|-
| ''[[A Wednesday!]]''
| 2008
| [[Neeraj Pandey]]
| Hindi film
|-
|''[[OSS 117: Lost in Rio]]''
|2009
|[[Michel Hazanavicius]]
|
|-
| ''[[500 Days of Summer]]''
| 2009
| [[Marc Webb]]
|
|-
| ''[[127 Hours]]''
| 2010
| [[Danny Boyle]]
| 
|-
| ''[[Scott Pilgrim vs. the World]]''
| 2010
| [[Edgar Wright]]
| 
|-
| ''[[The Social Network]]''
| 2010
| [[David Fincher]]
|
|-
| ''[[Love, Chunibyo & Other Delusions]]''
| 2012
| [[Tatsuya Ishihara]]
| [[Anime]] series<ref>{{cite web|url=http://www.fandompost.com/2014/01/09/love-chunibyo-other-delusions-ren-episode-01-anime-review/|title=Love, Chunibyo & Other Delusions! REN Episode #01 Anime Review|author=Kestrel Swift|date=9 January 2014|work=The Fandom Post|access-date=1 February 2016}}</ref>
|-
| [[Dhoom 3]]
| 2013
| [[Vijay Krishna Acharya]]
| [[Bollywood|Hindi Film]]
|-
| ''[[R... Rajkumar]]''
| 2013
| [[Prabhu Deva]]
| One Scene / [[Bollywood|Hindi Film]]
|-
| ''[[Kalyeserye]]''
| 2015&ndash;2016
| Bert de Leon, Poochie Rivera, Rich Ilustre
| A soap opera parody aired live during the "Juan for All, All for Juan" segment of Philippine noontime variety show ''[[Eat Bulaga!]]'' on [[GMA Network]] in the Philippines.<ref>{{cite web|url=http://entertainment.inquirer.net/176591/split-screen-tv-fairy-tale-aldub-hit-in-old-new-media|title=Split-screen TV fairy tale 'AlDub' hit in old, new media|author=Bayani San Diego Jr.|work=inquirer.net|date=16 August 2015|access-date=1 February 2016}}</ref>
|-
| ''[[The Man from U.N.C.L.E. (film)|The Man from U.N.C.L.E.]]''
| 2015
| [[Guy Ritchie]]
| 
|-
| ''[[Fargo (TV series)|Fargo]]''
| 2015
| [[Randall Einhorn]]
| Season 2
|-
| ''[[The Mindy Project]]''
| 2017
| Various
| Final Season
|-
| ''[[The Indian Detective]]''
| 2017
| Various
| Mini-series
|-
|[[Last Call (2019 film)|''Last Call'']]
|2019
|[[Gavin Michael Booth]]
|The film's entirety is a 77 minute split-screen [[single take]].<ref>{{Cite web |last=Debruge |first=Peter |date=2020-09-18 |title='Last Call' Review: A Split-Screen Stunt Obscures the Statement at the Center of This Suicidal Plea for Help |url=https://variety.com/2020/film/reviews/last-call-review-1234774806/ |access-date=2023-08-03 |website=[[Variety (magazine)|Variety]] |language=en-US}}</ref>
|}

==See also==
* [[Multi-dynamic image technique]]
* [[Polyvision]]

==References==
{{reflist}}

==External links==
*[http://www.splitscreen.us Split Screen: weblog dedicated to the art of the split screen and multi-layered visuals]

{{Film editing}}

[[Category:Cinematic techniques]]
[[Category:Film and video technology]]
[[Category:Film and video terminology]]
[[Category:Special effects]]