Media research perlminary task

1. Continuity Editing 101 – Creating Flow
MATCH ON ACTION
This is an editing technique in which one shot cuts to
another showing the action of the subject in the first
shot.
WHY?
To create a sense of continuity – the action carrying
through creates a ‘visual bridge’ which draws the
reader’s attention away from slight cutting or
continuity issues.
 Remember this is not the same as a ‘’match cut’ – it
should create the sense of continuous movement.
We will use this too create a flow within our video

2. Continuity Editing 101 – Creating Flow
EYELINE MATCHING
For example, Character A, is clearly the star of the
show. Let’s say he’s deciding which pair of shoes to
wear. In the shot, you can see that not only is Character A
looking off camera, he is looking DOWN and OFF
CAMERA.
 Eyeline matching isn’t just about seeing what the
character is looking at, it’s about the angle at which
they’re looking at it. It applies often to other
characters, but also applies to anything that can be
looked at.

3. Continuity Editing 101 – Creating Flow
180o RULE
This rule is a filming guideline that keeps the camera on one
side of the action. As a rule, the camera should stay on one
side of the action.
WHY?
If the camera breaks over the 180o line, it risks giving the
impression that the actors’ positions in the scene have
been reversed, therefore breaking the sense of continuity.

4. 180o RULE in action

5. Continuity Editing 101 – Creating Flow
SHOT REVERSE SHOT
This is an editing technique used in conversations or
simply characters looking at each other or objects.
 A shot showing what the character is supposedly
looking at (point of view/OTS shot) followed by a
‘reverse angle shot’ of the characters themselves
looking at it, or the other character looking back at
them.
 Remember that SRS tie in with the 180o rule to
maintain continuity by not distorting the audience’s
sense of character location and position.
We will use the shot reverse shot to create a seamless conversation. This
does not always have to switch to the character talking.

6. Paul Thomas Anderson’s Hard Eight
Tulliver (editor) uses a traditional set up of OTS/SRS, while occasionally
turning to a medium two-shot. The latter serves to break away from the
close-ups and re-establish the sense of place. Notice how the character’s
reactions are just as important as what is being said.
https://www.youtube.com/watch?v=FiWrkLJDQCQ

7. https://www.youtube.com/watch?v=Ef3B8gixQTE