This document discusses several techniques used in film editing to maintain continuity and prevent viewer disorientation, including:
1) Diegetic sound that overlaps cuts to imply temporal continuity.
2) Matching actions before and after cuts, such as someone tossing a ball, to preserve continuity.
3) Establishing shots that show the entire scene space to help orient viewers before complex sequences of cuts.
4) Techniques like the 180 degree rule and eye line matching to guide viewer perspective between shots.
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La Revista Reflejos es una publicación de la Fundación Tecnoglass, organización sin ánimo de lucro creada por los directivos de Tecnoglass, Christian Daes Abuchaibe y Yuyo Daes, para beneficiar a la comunidad menos favorecida del barrio las Flores y sus alrededores.
1. Continuity editing
Diegetic sound is that which is to have actually occurred within the story during the action being viewed. It is
sound that comes from within the narrative world of a film (including off-screen sound). Continuous diegetic
sound helps to smooth temporally questionable cuts by overlapping the shots. Here the logic is that if a sonic
occurrence within the action of the scene has no breaks in time, then it would be impossible for the scene and its
corresponding visuals to be anything but temporally continuous.
Match on action technique can preserve temporal continuity where there is a uniform, unrepeated physical
motion or change within a passage. A match on action is when some action occurring before the temporally
questionable cut is picked up where the cut left it by the shot immediately following. For example, a shot of
someone tossing a ball can be edited to show two different views, while maintaining temporal continuity by being
sure that the second shot shows the arm of the subject in the same stage of its motion as it was left when cutting
from the first shot.
The establishing shot is one that provides a view of all the space in which the
action is occurring. Its theory is that it is difficult for a viewer to become
disoriented when all the story space is presented before him. The
establishing shot can be used at any time as a re-establishing shot. This
might be necessary when a complex sequence of cuts may have served to
disorient the viewer.
One way of preventing viewer disorientation in editing is to adhere to the 180 degree rule. The rule prevents the
camera from crossing the imaginary line connecting the subjects of the shot. Another method is the eye line
match. When shooting a human subject, he or she can look towards the next subject to be cut to, thereby using
the former's self as a reference for the viewer to use while locating the new subject within the set.
Cross-cutting is an editing technique most often used in films to establish action occurring at the same time in
two different locations. In a cross-cut, the camera will cut away from one action to another action, which can
suggest the simultaneity of these two actions but this is not always the case.
Shot reverse shot (or shot/counter shot) is a film technique where one character is shown looking at another
character and then the other character is shown looking back at the first character. Since the characters are
shown facing in opposite directions, the viewer assumes that they are looking at each other.
