This document outlines the continuity techniques that will be used and demonstrated in a short film sequence, including match on action, eyeline match, cross-cutting, shot/reverse-shot, and the 180-degree rule. It provides examples of each technique from classic films. It also includes details of the short film such as the story, script, storyboards, crew, and editing process. The goal is to film a scene showing a character entering a cafe and discovering their partner talking to someone else, demonstrating continuity through editing.

1. Preliminary Task 2
Continuity Video Task
AS Media Studies
Andrea and Andjela

2. Continuity task
The main purpose of this task is to film and edit a continuity sequence. By using
filming and editing to maintain continuity of space and time. We will research and
present particular continuity filming and editing techniques; such as:
■ Match on action, the editor cuts from one shot to another view that matches
the first shot's action.
■ Eyeline match, in the first shot the character is shown and in the second
shot the character's view is seen
■ Cross cutting, quick switching between scenes, showing the actions happening
at the same time but at the different locations.
■ Shot/reverse shot, this is used to show conversation between two characters
and the emotions they exert.
■ 180 degree rule, shows that two or more characters in a specific scene
should always have the same left/right relationship.

3. Match on action
■ A match on action cut is a variety of film transition that cuts
from one shot to a closer shot in pattern to emphasize an action.
Match on action cuts are used by filmmakers to generate
seamless flow in editing. They are also important part of
continuity editing.
■ The camera shows different angles of the motion taking place.
Such as a person running with views from both the side and the
front. Match on action in which there is camera movement. This
is habitual in a range of films and involves the use of whip pans,
crash zooms and other formations of camera movements.

4. An example of match on action

5. The
demonstration
In this scene is another great example of how
to use a match on action cut transition
between two scenes and locations. In this
landmark New Hollywood movie, The
Graduate, Benjamin is a lost soul, showing no
interest floating through an affair and an
existential crisis. This transition comes inside a
montage full of creative transitions but pay
attention to this one. Benjamin pulls himself
up onto an inflatable raft in a swimming pool
but when we cut, he lands somewhere else.
This example from The Graduate is potent
because it clear visualizes Benjamin's detached
state of mind.
[The Graduate 1967]

6. Eyeline match
■ Eyeline match is a film editing technique to indicate to the
audience what a character is seeing. Eyeline match allows the
audience to believe that they’re looking at something through
the eyes of the character.
■ For example, you might see a character look at someone or
something outside of the frame. In the next shot, you’ll see
exactly what the character sees, from the same angle they
appear to see it.
■ Eyeline match also refers to an editing technique that ensures
continuity of the characters gazes. It gives the illusion that the
two characters are looking at each other. Even if they might not
be on the shooting the same day.

7. An example of eyeline match

8. The demonstration
Accompanied with great
number of people on
every side of table and
the shot, eyeline match is
constant and precise for
the viewers to follow
associating with whom.
Executing complex scenes
similar to this exact
eyeline matches takes
provision and technique.
[Barry Lyndon 1975]

9. Cross-cutting
■ It is an editing technique which splits between two lines of action within
the narrative structure. This shows the audience that these moments
are occurring simultaneously at alternative places. The distance of
these different locations can vary; can be as short as in the same building,
or as far as a different universe.
■ There are no specific "rules" in sense of time and space, hence the
main point of this technique is to demonstrate multiple views
across divergent positions.
■ This technique is often used to build suspense, as it only shows parts of
two scenes.
■ It can also be seen during a phone call scene, where two or more
characters are speaking; this is to show emotions and the facial
expressions of each character.

10. The
demonstration
In this scene of the Godfather, cross-
cutting is displayed clearly. There are two
actions which are happening at two
different locations simultaneously.
In the primary shot, a close-up shot of a
baby during baptism is showed, along with
the church bells; these factors show the
religious beliefs of Michael. In the second
scene, a medium-long shot of a brutal
murder is occurring. The audience sees a
gun going off towards the lift in which the
murder happens.
This scene perfectly signifies the contrast
between his religious beliefs and the
murdering of countless people; in other
words, the contrast between "good" and
"evil".

11. Shot/reverse shot
■ The shot/reverse shot is a quintessential continuity editing technique and a
pillar of cinematography. It is a film technique that switches between two
subjects, meaning to cut from one character’s point-of-view to another’s to
show them interacting. It requires toggling between two camera angles,
usually following the 180 degree rule.
■ It is mostly used to perform a conversation between two or more figures.
Shot/reverse shot is a perfect technique because it reveals the characters'
emotions, body language and facial expressions. Then, the audience
can suggest what the characters' response to the situation is.
■ A medium or medium-long, two shot of the characters is typically the first
element of a shot/reverse shot sequence. An over-shoulder shot of
one character follows, along with an over-shoulder shot of the other character.

12. An demonstration of the shot/reverse shot
sequence

13. The
demonstration
This is a scene captured from Cobra
Kai. It displays a conversation between
Johnny and Miguel.
The first shot captures them both in a
medium-long two shot sitting on the
sideroad holding beer cans – showing
that this is an casual conversation
between a sensei and his student.
In the second shot, the audience can
see Johnny's facial expressions more
clearly as a medium close-up over the
shoulder shot.
The dialogue continues with a medium
close-up over the shoulder shot of
Miguel and his focused attention
towards his sensei.

14. The 180 degree rule
■ This filmmaking technique commands that you draw an imaginary line
between the two characters or other elements and try to keep your
camera on the same side of this 180-degree line. The rule assures that
the audience acknowledges the scene and the objects within the filmic
space.
■ If the camera slips away from the imaginary line of action that links the
two subjects, it is named crossing the line. As long as the direction of
the actors viewpoint is flipped, filming can be done from the reversed
side of the 180 degree axis. Otherwise, it would bring confusion to the
audience.

15. The demonstration of the 180 degree rule

16. Breaking the 180
degree rule
Breaking the 180 degree rule is also
known as a "reverse cut". It shows shots
from the other side of the line of
action. If not used intentionally, it is a
common mistake for beginners.
Filmmakers take advantage of breaking
the 180 degree rule only when they
want to confuse the audience or to
show a change of the mood.
This is an example from the Broken City
(2013). In the first shot and second
shot, the camera is filming within the
line of action. But in the third shot, the
180 degree rule is broken.

17. Continuity task synopsis
Action
"film a character walking down a corridor, 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."
An agitated girlfriend walks into the café in which her boyfriend is sitting with
another girl. While he is in the bathroom, she meets the girl and tells her
everything. The boyfriend comes back only to find the two of them talking and
was left in shock.

18. Script (version 1)

19. Script (version 2)

20. Script (version 3)

21. Storyboard (version 1)

23. Storyboard (version 2)

25. Storyboard (version 3)

27. Location Search

29. ■ We decided to go with these location since they seemed to fit more than the
others

30. Equipment list and props
EQUIPMENT
■ Camera
■ Memory Card
■ Tripod
■ Camera holder
■ Battery charger
PROPS
 Juice bottle
 Mobile phone

31. Call sheet
Actors
■ Laeticia K. - leading character
■ Elena B. - supporting character
■ Nazim K. - supporting character
Locations
■ Dedinje, Belgrade
■ Outside of Chartwell school
■ Inside of Chartwell school

32. Crew list
Andrea D.
■ Script writer
■ Storyboard assistant
■ Director
■ Editor
Andjela R.
■ Script assistant
■ Storyboard writer
■ Camera operator
■ Editor

33. Print screen of the editing process

35. Preliminary Task Evaluation
■ We decided to film the most cliché drama – a girlfriend finding out that she's
being cheated on by her boyfriend. We went with this story because it keeps
the views' attention. Along with drama, there is also a hint of comedy because
of Laeticia's and Elena's facial expressions when Nazim saw them and their
chase after him.