This document discusses techniques for continuity in film editing. It explains that continuity editing aims to give viewers a sense of smooth spatial and temporal transitions. Match on action refers to cutting between shots where the action matches, like a character reaching for a door knob and then cutting to a shot of the door opening. Shot reverse shot involves cutting between one character looking at another (often off-screen) and then cutting to the other character looking back. The 180-degree rule maintains the on-screen relationship between characters or objects within a scene by keeping the camera on the same side of an imaginary axis connecting them.

1. Preliminary Work

2.  Continuity editing gives the viewer the impression that the
action unfolds with spatiotemporal consistency.
 In most films, logical coherence is achieved by cutting to
continuity, which emphasizes smooth transition of time
and space. However, some films incorporate cutting to
continuity into a more complex classical cutting technique,
one which also tries to show psychological continuity of
shots. The montage technique relies on symbolic
association of ideas between shots rather than association
of simple physical action for its continuity.
Continuity Editing

3.  match on action refers to film editing and video
editing techniques where the editor cuts from one
shot to another view that matches the first shot's
action. A common example is a man walking up to a
door and reaching for the knob. Just as his hand
touches the knob the scene cuts to a shot of the door
opening from the other side.
Match on Action

4.  Shot reverse shot is a film technique where one
character is shown looking at another character
(often off-screen), 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.
Shot/Reverse Shot

5.  In film making, the 180-degree rule is a basic guideline
regarding the on-screen spatial relationship between
a character and another character or object within a
scene. An imaginary line called the axis connects the
characters, and by keeping the camera on one side of
this axis for every shot in the scene, the first character
is always frame right of the second character, who is
then always frame left of the first.
180-degree Rule