1. Introduction toIntroduction to
Continuity EditingContinuity Editing
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2. Preliminary TaskPreliminary Task
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The Task:
Continuity task involving filming and editing a character
opening a door, crossing a room and sitting down in a chair
opposite another character, with whom she/he then
exchanges a couple of lines of dialogue. This task should
demonstrate match on action, shot/reverse shot and the
180-degree rule.

3. Filming and EditingFilming and Editing
TechniquesTechniques

4. Shot typesShot types
 Watch http://www.youtube.com/watch?Watch http://www.youtube.com/watch?
v=3VS2iNhz180 to revise shot types.v=3VS2iNhz180 to revise shot types.

5. Continuity EditingContinuity Editing
 The predominant style of editing inThe predominant style of editing in
narrative cinema and television.narrative cinema and television.
 The purpose of continuity editing is toThe purpose of continuity editing is to
smooth over the inherent discontinuity ofsmooth over the inherent discontinuity of
the editing process and to establish athe editing process and to establish a
logical coherence between shots, focusinglogical coherence between shots, focusing
on time (temporal continuity) and spaceon time (temporal continuity) and space
(spatial continuity).(spatial continuity).

6. The Grammar of EditingThe Grammar of Editing
 When watching television programmesWhen watching television programmes
and films, we often take for granted thatand films, we often take for granted that
we can follow the action without anywe can follow the action without any
confusion, even though it is extremelyconfusion, even though it is extremely
unlikely that the footage has beenunlikely that the footage has been
recorded continuously.recorded continuously.
 In order to achieve this, editor must stickIn order to achieve this, editor must stick
to the grammar of editing.to the grammar of editing.

7. The RulesThe Rules
 The 180The 180° rule° rule
 Match-on-actionMatch-on-action
 Shot/ reverse shotShot/ reverse shot
 The eyeline matchThe eyeline match

8. The 180The 180° Rule° Rule
 states that two characters (or otherstates that two characters (or other
elements) in the same scene shouldelements) in the same scene should
always have the same left/rightalways have the same left/right
relationship to each other.relationship to each other.
 Watch:Watch:
http://www.youtube.com/watch?http://www.youtube.com/watch?
v=HdyyuqmCW14&feature=relatedv=HdyyuqmCW14&feature=related

9. Match-on-actionMatch-on-action
 Cutting from one shot to another view thatCutting from one shot to another view that
matches the first shot's action and energy.matches the first shot's action and energy.
 Gives the impression of continuous time whenGives the impression of continuous time when
watching the edited film.watching the edited film.
 By having a subject begin an action in one shotBy having a subject begin an action in one shot
and carry it through to completion in the next,and carry it through to completion in the next,
the editor creates a visual bridge which distractsthe editor creates a visual bridge which distracts
the viewer from noticing the cut or noticing anythe viewer from noticing the cut or noticing any
slight continuity error between the two shots.slight continuity error between the two shots.

10. Shot/ reverse shotShot/ reverse shot
 one character is shown looking (often off-one character is shown looking (often off-
screen) at another character, and then thescreen) at another character, and then the
other character is shown looking "back" atother character is shown looking "back" at
the first character.the first character.
 Since the characters are shown facing inSince the characters are shown facing in
opposite directions, the vieweropposite directions, the viewer
unconsciously assumes that they areunconsciously assumes that they are
looking at each other.looking at each other.

11. Eyeline matchEyeline match
 It is based on the premise that the audience willIt is based on the premise that the audience will
want to see what the character on-screen iswant to see what the character on-screen is
seeing.seeing.
 The eyeline match begins with a characterThe eyeline match begins with a character
looking at something off-screen, there will thenlooking at something off-screen, there will then
be a cut to the object or person at which he isbe a cut to the object or person at which he is
looking.looking.
 For example, a man is looking off-screen to hisFor example, a man is looking off-screen to his
left, and then the film cuts to a television that heleft, and then the film cuts to a television that he
is watching.is watching.

12. ““That’s the way to do it…”That’s the way to do it…”
•• You will find the more thought andYou will find the more thought and
planning you put into your work the betterplanning you put into your work the better
it will be. You should never do somethingit will be. You should never do something
just for a technical exercise.just for a technical exercise.
www.youtube.com/watch?v=TtljKx31MJgwww.youtube.com/watch?v=TtljKx31MJg

13. Discontinuity EditingDiscontinuity Editing
 Of course, rules are there to be broken!Of course, rules are there to be broken!
 Only break the rules if there is a goodOnly break the rules if there is a good
reason for doing do so! These include in areason for doing do so! These include in a
montage or to create confusion andmontage or to create confusion and
disorientation.disorientation.
 BUT only break rules when you areBUT only break rules when you are
confident on how to stick to them – so notconfident on how to stick to them – so not
in this piece of coursework!in this piece of coursework!