Continuity editing

In continuity editing everything is filmed so that the viewer thinks they are seeing continuous action. As well as following the rules below, you will need to ensure that characters’ appearance, the set and the lighting (colour and direction) remain consistent from shot to shot.

Note: MONTAGE EDITING: Not all editing is continuity editing. Film title sequences/ trailers/ adverts/ music videos often use ‘montage’ techniques, where the combination of contrasting images builds up meaning.

Rules for continuity editing –camera work:

Shot Order:

When editing shots together, the audience needs to more across physical space smoothly. This is performed through a logical shot order i.e. LS to MS to CU rather than jumping straight from LS to CU.

180 degree rule:

There is a 180degree ‘line of vision’ between two characters in which the camera cannot cross unless the viewer actually sees the viewpoint move across the line. If the shots appear to just cut across the line the audience lose their sense of direction, spacial awareness and are altogether confused. The same rule applies during movement: The camera must not cross the line of vision as the person or object may appear to be moving in a different direction. E.g. on one side a character may be walking to the right of the frame but if the line is crossed they may be seen as walking left of the frame.-Confusing eh!

30 degree rule:

If the camera angle changes by less than 30 degrees (with the same framing) viewers may notice a visible ‘jump cut’ which can look very amateur.

Eyeline Match:

The direction of characters’ gazes should stay the same, e.g. if one character is taller than the other, the smaller character should be looking up and the taller looking down. This makes the action seem realistic and plausible. In other words...we see what they see, from their eye line.

Match On Action:

Editing movement should be ‘on the action’ to make sure that the character has clearly moved forward between shots- rather than repeating an action. E.g. If their is a character running on their left foot, the next shot should be them about to run on their right foot.

Shot/reverse/shot:

This should be used when shooting an interaction between two characters:

Shot order:

1. A ‘master shot’, which shows both characters
2. A close up on one character
3. A close up on the second character.
4. Individual shots of each character e.g. big close ups to show strong emotion.

Rules for continuity editing –when editing:

Transitions:

• Cuts are the most common way of seamlessly moving from one shot to the next. They can also create pace and rhythm.
• Dissolves can provide a slow, relaxed way of linking shots such as, in a ‘montage’ of shots within an opening. They can also be used to show a forward movement in time or space and show a link between two shots.
• Fades (up/out/to black/from black) often show that time has passed.
• Wipes and other unusual transitions are not conventionally used in film making but can be used to make something lively, wacky and comical-usually children’s TV programmes.

Other editing techniques include:
· Trimming shots and dialogue
· The addition of non diegetic sound, e.g. music or voiceover
· Titles
· Special effects
· Colouring- e.g. blue-ish lighting connotes a cold and isolated atmosphere or a sense of technology. Yellow lighting connotes comfort and gives a feeling of warmth. Black and white or sepia can signify sophistication or set the sequence in the past.

Sound:

Diegetic sound

Sound that the audience believe to be part of what is going on within the action, such as walking on smashed glass, smashing a window, a door bell ringing, a punch, panting, etc. These sounds reinforce the audience’s perception of a realistic sequence.

Non-Diegetic sound

This is sound that the audience know is not part of what’s on screen, but is used to heighten emotions or change our interpretation. E.g. Music in thrillers is used to heighten suspense. Another example is a voiceover which is used to give the audience a better understanding and possibly a bias viewpoint.

Sound Bridging

This is when sound links two shots or scenes by changing the picture and diegetic sound at different times. Usually sound from the second shot or scene comes before the next shot is shown. E.g. the audience may hear a gunshot in a shot whilst the next shot shows somebody on the floor wounded.

Lighting:
This needs to be consistent throughout the sequence to make it seem realistic and continual. There are many types of lighting such as:

· High-key. This is bright lighting possibly used for distorting a shot.
· Low-key.This produces shadows and dramatic contrasts, which may be used to connote a villainous character. E.g. in the villain’s lair.
· Lighting from below. This makes something/someone seen threatening or horrific, such as a villain.
· Backlighting. This produces a ‘halo’ effect around something/someone, for example a hero/ine.