Shots, Editing and the rules of continuity

creating the most effective cinematic production from an array of shot types and continuous editing is a key motive for any film maker. The final cut should have precisely and neatly arranged scenes with detailed editorial skills flaunted. A preliminary cut is almost a draft of the final. When looking at shot types it is important to consider the prevalence characters receive- with the amount of screen times and close ups showing who the audience is to empathize with or view as a high status character. As well as prevalence during shots, the final shot is also key to see who is afforded the prominent final shot once again suggesting who we are to empathize with. Another key shot type is the inclusion of a cross cut...these allow the audience to move from one situation and back again. Fades, too, play a key role in editing- does the screen fade out to black or white? or even another color or scene to create a desired effect. I wanted to research the Montage editing technique further..so in forthcoming blog (world war Z montage analysis) i'm going to explore this technique further however research has enables me to understand how lots of shots in an almost collage format of things happening over time enable an audience to receive key points at a fast pace. Relational editing is another editing technique i wanted to possibly adopt ideas of in my opening two minutes as it forges a link and theme between shots- for example if we saw a helpless old woman struggling with shopping in a shot and then another scene of a boy being told he is useless there is a relatable link forged. Often relational editing is the most foreshadowing in movies. Transitions of scenes were also another key aspect i wanted to research as often transitions like 'dissolve' are used to blend two shots together so the audience are taken from one scene to another without pause..creating a faster pace. 



A match action shot (also known as a match cut or graphic cut) is a defined cut in film editing between two different object, compositions or spaces where the objects or actions in the two shots graphically match. In easier terms- an action or scene is shot from two different camera angles or shot types but still fit in together correctly establishing a strong continuity of action and link between the shot types. A match cut films the same thing but from an alternative perspective. an example of this could be filming somebody turn the knob of a door with a close up shot, and then see them going through the door from a frontal long shot. match cuts are different to parallel editing or cross cuts because they both disorientate the audience from the scene and do not focus on the same objective. Match cuts follow directly on from each other to reinforce continuity without any transitions or pause- this is a direct contrast with the discontinuity of a jump cut. shot reverse shot is a typical feature of the 'classical Hollywood' style of continuity editing which focuses on continuous action that develops linearly, chronologically and logically with no deferring from the scene. shot reverse shot also categories under the filming technique of 'eye line match'.

a shot reverse shot is simple- its just a shot first in one direction-then in the other- and back again. this is effective because it makes the audience feel part of a conversation typically..or enables a better grasp and understanding of emotions and response as often shot reverse shots are used to show a reaction or retaliation. usually, shot reverse shots work best using mid shots and close ups so that we can see expressionism and identify with emotions. The shots work well because it feels like we are seeing just what the characters are from both perspectives. also- it is almost like a rebounding or mirroring of prevalence or importance in scenes- showing who should have our focus. over the shoulder shots are used in conversational scenes just like shot reverse shot to see things from opposite perspectives. shots like this are more effective than simplistic, still, two shots or long shots because we have a limited view of emotion and restricted involvement in the scene. often these shot reverse shots can be a direct eyeline match so we see exactly what a character is looking at as the camera follows their point of view-creating an eager audience to see what the character does. Eyeline matches in film are completely different to graphic matches because graphic matches occur when two shots that match graphically are purposely matched and placed after each other or after a overlap transition...an example of this could be a shot of an eyeball and then a shot of the sun, or the famous shot in 'A Space Odessy' of the monkey throwing a bone which then matches the space shuttle- this is because both are the same size and shape on the screen- showing a relationship. The last editing terminology involving a 'match' in scenes is an action match. An action match often portrays two different views and different shots of the same action which are then edited together so the action appears interrupted.  Back to eyeline match shots....To ensure this works, in shot reverse shots we have to imagine a line between two characters or a character and an object...this is called the axis of action- leading onto my next point-the 180 degree rule! This axis of action is important because filming needs to be maintained from only one side of the imaginary line....if the rule if broken and you've crossed the line, viewers may feel deluded and disorientated with shots that do not fit together in a smooth cut. This rule is called the 180 degree rule because the camera cannot move further than 180 degrees (half a circle) around the subjects. often- when using this rule, it is typical for the first character to always be frame right of the second character who is then hence frame left of the first.