Principles of Continuity

FRAMING & SHOT TYPES:

 

• VLS/WS- often used as an establishing shot to show location or to make a figure look small and isolated in the landscape
• LS- where the character can be seen from head to toe
• MS- character can be seen from waist to head. You can normally see what they are doing with their hands
• MCU- chest to head
• CU- a head and shoulder shot used for emotion, to put the audience in the action or to focus on something specific
• BCU- for emotion and expression
• ECU-to emphasise facial expression or create a threatening look about a character
• Two shot- has two people in it
• POV shot- from a characters point of view
• Reaction Shot- expressive shot showing a character reacting to something
• Noddy- Common in interviews sequences. Reaction shot by either character to the other
• OTS- over the shoulder shot, often used in dialogues and interviews.

 

 

 

CAMERA MOVEMENT:

 

•  Should always be used for a purpose. Creates physical movement (tracking) so the audience is forced to focus (zooming), sweep the subject (panning, crabbing, arcing) and create or change perspective (tilting)

 

 

 

EDITING:

 

• Shot duration: when filming, each shot should last longer than necessary so it can be trimmed later in the editing suite as opposed to reshooting short shots. A pause at the end of an important bit of dialogue can also help to create suspense and tension.
• Montage editing: used in title sequences, trailers, music videos and adverts. A combination of contrasting images for a particular meaning/effect 
• Non linear editing: in digital edit suites where shots can be altered in any order and an infinite amount of times with no loss of quality

• Continuity editing: used to ensure the narrative flows seamlessly in a process called suture (where the audience is sewn into the story). Creates realism by allowing the audience to ‘suspend their disbelief’ and forget what they are seeing is a construct
• It is important to make sure the characters appearance, lighting and set remain consistent in continuous shots
• In continuity editing, the audience must be moved through physical space smoothly in a logical sequencing of shots. For example going from a WS to an ECU is likely to disorientate the viewer and disrupt their viewing pleasure.
• 180 degree rule: Whilst shooting, it is vital not to cross the ‘line of vision’ between two characters. If done so it can change the viewers perspective causing confusion
• 30 degree rule: similarly framed shot angles should change by no less than 30 degrees to prevent a ‘jump cut’
• Eyeline match: direction of characters eyes and focus should stay the same 
• Match on Action: movement should be edited on the action so it flows consistently
• Shot/reverse/shot: Whilst filming dialogue you should film once with a master shot, repeat the scene focusing on one character and again on the other with extra BCU’s for important reaction or expression shots
• Split edits: where the sound and picture change at different times

 

• Transitions
• Cuts are most common for seamlessly moving from shot to shot and can create pace and rhythm
• Dissolves link shots slowly and normally denote a change in space or time. Can be used for dream like and flashback sequences. 
• Fading is used to signify a time elapse.

 

 

• Sound
• Diegetic sound: sound that we think is occurring in the scene (though is normally added later by a ‘Foley artist’
• Non diegetic sound: sound we know isn’t part of the scene like music and voiceover
• Sound bridge: Uses sound to link two scenes. Normally the sound from the second scene is heard before we see the picture.

 

 

 

• Lighting 
• High key: bright and low in contrast 
• Low key: more pronounced shadows and dramatic contrasts 
• Low angle lighting: makes a subject appear threatening 
• Backlighting: produces ‘halo’ effect

• Colour
• Cold or blue wash lighting conveys alienation, technology and a spooky, mysterious atmosphere, whereas warm yellow hues are comfortable and easy going.

 

 

 

 

 

How will it be useful in my own film making experiences?

 

I have learnt a lot from all this information and I have many things to bare in mind when filming my own opening sequence. During our in class ‘accident’ practical, we already unintentionally followed some of the principles of continuity editing, such as eyeline match and shot variation. However as we couldn’t edit the sequence, techniques we tried to employ (match on action) looked stunted and very unconvincing! When it comes to our prelim tasks I think I will have a much better understanding of how to create a professional looking sequence that is genre appropriate and conveys our intended messages.