COM 402
Media Aesthetics
#11
Editing II
Continuity Editing
Continuity, from the root word continue
continuing
what came before
Historically, this is the typical editing style of most Hollywood movies
& TV shows.
primary purpose is clarification of events
designed to tell a story (relate information in narrative form) clearly
and coherently
Continuity Editing
goal is to create a smooth flow from shot to shot
invisible = does not call attention to itself or
remind viewer they are watching a movie
Assumption: viewers are constructing a mental map (cognitive map)
based on the info they see and hear.
both onscreen and offscreen
Continuity editing helps viewers to construct and maintain this mental
map.
Common Continuity Editing Shots
establishing shot = usually a distance-framed shot that
establishes the spatial relations among important figures, objects, and setting
in a scene
cut-in = instant shift from distant framing to a closer view of
some portion of the same space
shot/reverse shot = two or more shots edited together that
alternate characters, typically in a conversation
Common Continuity Editing Shots
eyeline match = a cut where the first shot of someone looking at
something is followed by a second shot of what they are presumed to see
action match = a cut where action taking place in the first shot
continues in the same direction in the next shot (action seems uninterrupted)
reestablishing shot = return to view of an entire space after a
series of closer shots following the establishing shot
Continuity Editing
Crosscutting
crosscutting = editing that alternates shots of two or more
lines of action occurring in different places, usually simultaneously
gives viewer unrestricted knowledge of causal, temporal, and
spatial information
binds varied spatial action together through implication of temporal
simultaneity
unrestricted knowledge is when viewers know more than characters do
restricted knowledge is when viewers only know what characters do, and
often less.
Continuity Editing
Zettls Key Concepts
(based on vectors)
(He really likes vectors.)
graphic vector continuity
index vector continuity
index vector line (180° line, axis of action)
motion vector continuity
motion vector line
miscellaneous continuity factors
Graphic Vector Continuity
spatial continuity = principle of maintaining spatial consistency
from shot to shot
maintaining a consistent horizon line, both indoors and outdoors
similar space & volume from shot to shot
does not really indicate a direction
Index Vector continuity
important part of establishing and maintaining a viewers mental map
maintains consistent screen direction
maintains consistent eyelines
Viewers should always know where characters (and self) are in relation to
each other and the screen event.
Lets consider the consequences of continuing, converging,
and diverging vectors from shot to shot.
Continuing Index Vectors
(pointing in the same direction)
goal = to get viewers to perceive separate shots as one
simultaneous event
persons looking in one direction in the first shot should continue
looking in the same direction in the following shots
target object continuity = persons appearing to be looking at
someone or something in the first shot should be followed by object of their
gaze appearing to be located in the direction in which they were looking
applies to both onscreen and offscreen
Converging Index Vectors
(vectors crossing paths)
goal = to get viewers to perceive separate shots as one
simultaneous event
Example: Close-ups of people talking to each other following a
two-shot of the same must maintain original index convergence.
Example: Having established the spatial relationship between audience
members and a speaker, subsequent shots must reflect the original index
convergences.
Diverging Index Vectors
(pointing away from each other)
goal = to get viewers to perceive separate shots as one
simultaneous event
If you establish index vectors pointing in different directions,
you should maintain the original index divergence in the next shot.
Example: two people fighting and looking in opposite directions in
initial shot should be doing the same in subsequent close-ups.
Index Vector Line
also called axis of action, 180° line, the
line, or the principal vector
This is an invisible 180° line that the camera does not cross
over in order to present screen action in consistent direction.
(person walking down the street always moving from left to right)
keeps an object in the same screen area from shot to shot
violation of 180° line rule thought to confuse and
disorient viewers (mess up their mental map
Index Vector Line
Established by Converging Index Vectors
Index Vector Line
Is not the same as the Z-axis.
They can be, however, but only if there are converging vectors along the
Z-axis.
Index Vector Line Rules
cross shooting:
If using one camera, keep shooting from one side of the vector line.
If using two cameras, keep both on one side of the vector linenot one
on each
O/S shooting:
keep cameras on one side of the vector line
Motion Vector Continuity
important in establishing and maintaining the viewers mental map.
Like index vectors, motion vectors are continuing, converging,
and diverging.
Camera placement desiring continuity can get tricky when shots include
both motion and index vectors.
Continuing Motion Vectors
Having established the direction of a moving object in one shot, you must
keep the camera on the same side of the motion vector line in subsequent shots
in order to maintain the direction.
Preserving principal direction in subsequent scenes.
If you have a guy riding a motorcycle to Wyoming and you show this from
screen right to screen left, subsequent shots must also show the motorcycle
riding from screen right to screen left (unless , of course, ha has become
dissatisfied with Wyoming and is returning to Denver).
Converging Motion Vectors
If you show objects heading toward each other, they should eventually
converge.
Camera placement maintains these directions by shooting from the same
side.
Diverging Motion Vectors
If two objects are shown as going in opposite directions, subsequent
shots should be made in order to maintain those
directions.
Zero-directionality Cutaway
You may switch sides of the motion vector line in subsequent shots if you
interfect a zero-directionality cutaway.
This is when you splice in a shot whose motion vector(s) are not related
to those already established.
Vector Line
In field shooting, crews typically shoot more footage than needed
(production phase).
For the sake of efficiency, shots are often shot out of sequence.
These shots are expected to be properly sequenced later in postproduction
(editing).
If shooting for continuity, make sure your shots reflect proper camera
placement regarding vector lines.
Postproduction cannot correct for careless camera placement that violates
vector line rules for maintaining continuity.
Action Continuity
To ensure maximum continuity, cut during the action, not before or after
it.
When cutting during secondary motion (camera movement), you should try to
continue that movement in the shot you are cutting to (if you want to maintain
continuity).
pan, tracking shot, tilt, etc.
Color and Environment Continuity
Depending differences in weather, lighting, and white balance settings,
colors and other onscreen objects intended to be the same from shot to shot may
vary between shooting sessions.
Pay attention to these factors while shooting.
Dont expect to fix them in postproduction.
Continuity
Establishing and maintaining continuity also depends a lot on your
manipulation of sound.
Well talk about sound in a couple of weeks.
Summary
continuity editing defined
primary purpose is clarification
index motion vectors
continuing
converging
diverging
motion index vectors
continuing
converging
diverging