"I'm actually pretty shy in real life, but I guess in front of the camera, I focus." - Ranbir Kapoor
The continuity system of editing aims to prevent the audience from becoming disassociated with the film they are watching, so it presents the scene so that the editing is "invisible" and the audience isn't distracted by jumps or random cuts in the middle of the scene.
The continuity system of editing aims to prevent the audience from becoming disassociated with the film they are watching, so it presents the scene so that the editing is "invisible" and the audience isn't distracted by jumps or random cuts in the middle of the scene.
A key element of the continuity system is the 180 DEGREE RULE, which states that the camera must stay on only one side of the actions and objects in a scene. It is a cinematography guideline that states that two characters in a scene should maintain the same left/right relationship to one another. This convention assures that the action is constantly consistent and actors or objects within the scene don't magically change positions.
Another part of the continuity system that is important is an ESTABLISHING SHOT. Usually, these are a shot presenting a more or less complete view of the setting, showing the spatial relations among the key figures, and their surroundings.
One main feature is called SHOT/REVERSE SHOT, this is usually two different alternating shots, usually used during a conversation between two people, to show the conversation from both perspectives. For example, in the film "Saw" (James Wan, 2004) the final sequence (embedded below) begins with close up shots of Lawrence Gordon (Cary Elwys) and Adam Stanheight (Leigh Whannell) in shot/reverse shot over their shoulders, as Lawrence explains he will "go and get help". (0:20) This shot/reverse shot allowed director James Wan to show the different characters reactions, whilst still continuing the action/dialogue.
Another feature of the continuity system highlighted in the short clip from Saw is EYE-LINE MATCH CUTS. There is a really nice moment where Adam (Leigh Whannell) looks up in horror at the figure standing up in the middle of the room. (3:40) This figure is soon revealed to be the master of all of the torture Adam and Lawrence have suffered, known as Jigsaw/John Kramer (Tobin Bell). The camera cuts to a view from a low angle, a medium shot showing John Kramer standing up. This eye-line match cut allows the audience to feel they are in the same position as Adam, as the mystery of the whole film and who has been behind all of the games is finally revealed.
The final highlighted feature of the continuity system of editing in this sequence is a MATCH ON ACTION CUT. In the sequence, it is very subtle. but when John Kramer gets up from the floor, we see Adam's initial reaction in the shot. (3:05) As he turns to look at the figure, the camera cuts to a previous over-the-shoulder shot of Adam continuing to turn his head to look at the figure in the middle of the room. This is really nicely done, and the action between the shots matches perfectly.
This is an excellent piece as far as it goes but does not include all the terms needed. What about match on action and eyeline match cuts? Please add to get a really high grade.
ReplyDeleteBetter now. When you say the 180 degree line or axis of action "goes through the centre of the shot" it is not quite correct. It's an imaginary line that goes through a 'scene' connecting the main objects or characters that are interacting and therefore establishing a side from which to edit from one camera position to another without causing the objects or characters to switch frame sides or direction if moving. Otherwise this is very good .
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