Continuity Editing.

Continuity Editing.

Whats involved in Continuity Editing:

• Establishing Shot
• Re-establishing Shot
• Shot/Reverse Shot
• 180 Degree
• Crosscutting
• Match On Action
• Eyeline Match

Definition:

A method of cutting use to maintain continuous and clear narrative action by following a set of rules.

Establishing Shot: A long or extreme shot that has loose framing, showing the spatial relationship between the most important figures, objects and settings.

Re-establishing Shot: A shot that returns back to a view of a space/location after a lot of close ups.

Shot/Reverse Shot: This is when two shots are edited together that alternate characters. this is normally done in conversation situation. Its normally in one frame someone is looking left in the next the other is looking right.

180 Degree: This is when there is an angle between any two consecutive shots should not exceed 180 degrees to maintain spatial relationships between both people and objects, in any sequence of shots.

Crosscutting: This is editing that alternates between two shots that are happening at the same time.

Eyeline Match: A cut that is done between two shots. The first person is off into one direction and in the second one it shows either what the first person can see or someone looking back at them in exactly the opposite direction.

Match On Action: This is a cut between two different shots that places two different frames that are of the same action next to each other making it seem to continue uninterpreted. 

 

Me and my friend, Rianne had recorded our very first piece and as you can see there are a lot of issues with it. I personally think that our story line was first of all very complex and we focused more on that rather then our media skills. Our continuity is very off as we filmed this piece over a series of days therefore you can see that the clothing in some scenes do not match. There are also parts where the camera is both shaky and there is background noise, also we didn't know how to use the camera properly at the time and when we thought we had pressed record we actually hadn't. When it comes to filming our movie trailers next academic year I will make sure to learn from these mistakes.

Setting up the camera and tripod.

Tripod and Camera

To record my trailer I will be using both a hand held camera and a tripod.

First of all to set up the tripod you need to simply spread the legs apart and adjust them to a certain height, You then just need to tighten them in place. There is a smallish screw located on the side of the tripod to adjust the height of the center piece. You need to make sure it is secure and in place by tightening it back up. Next to attach the camera to the tripod you need to remove the plate off of the top of the tripod by flicking back the lock and then carefully matching the screws up at the bottom of the                                                                                         plate so that it is very tightly locked into place. Next you are going to need to set the pan handle to your preferred angle, you simply do this by turning the handle. If you are wanting to rotate the camera in a vertical direction you need to loosen up the bigger screw and move the head into the position you wish and then tighten up the screw so that the camera is tight and secure in its new position. Once you have done this to work the camera you simply have to turn the camera on by the on/off switch. Some cameras will have switches to open the camera lens. All camera will have a hole at the bottom of the camera where you can attach the camera plate too. This is important to know as when it comes to filming I want to make sure that my preliminary continuity filiming and editing task doesnt go wrong.

Plan for the clip

Plan for the clip:

SHOT LIST

1. Establishing shot of offices 
2. Wide angle shot to a dark room of blue prints/ whiteboard, pictures 
3. Crab shot following Morgana's feet into the room which follows around the room to Kisandra
4. Medium shot of Kisandra and Morgana getting the blue prints ready
5. Over the shoulder shot to show what they are looking at
6. Medium close up of them from the side talking to each other 
7. Extreme close up of hands/ leather gloves
8. Establishing shot of phoebes house and the music then is in the shot 
9. It then cuts to a long shot of phoebe dancing in her room 
10. Parallel editing is used to and from different places from phoebes house and the office
11. Medium shot to show that Rianne is telling me the plan for the heist 
12. Point of view shot when Rianne gets the phone to call phoebe 
13. Close up of Rianne dialing the phone to phoebe 
14. Extreme close up of Rianne talking on the phone 
15. Over the shoulder shot of Rianne on the phone
16. Close up of phoebe picking up the phone and talking to Rianne 
17. Extreme close up of phoebe's lips talking 
18. Rianne gets annoyed as phoebe is not taking it seriously and so a medium close up to show she is annoyed 
19. Mid shot to show that phoebe is still in her room and talking to Rianne 
20. Close up of Rianne when she puts down the phone 
21. Cuts to a long shot of Rianne in the office

Preliminary Activity-Narrative Ideas

The idea that I have for my preliminary activity is, I will have a 1 minute clip. I will use a mix of different camera angles. Three bank robbers are planning a heist over. They are planning to steal from the vaults. one of the is really ditzy the other takes it really seriously.They both have 2 completely different personalities.

Script:
KASANDRA: penny for god sake. this has to go to plan. for this to go to plan you need to answer your god damn phone. call me back. time isn't on our side

PENNY: BABY YOU LIGHT UP MY WORL LIKE NOBODY ELSE THE WAY TH- oh shit. here we go.
*rings back*

HEY YOU ALRIGHT CHICK, YEAH SO WHATS HAPPENING WITH THIS PLAN OF YOURS THEN?

KASANDRA: 15 QUEENS STREET. 7.20. DON'T BE LATE. WE NEED TO KICK OFF ON TIME.

PENNY: YOU MEANT TONIGHT. BABE EASTENDERS IS ON.

KASANDRA: YOU KNOW WHAT I DON'T THINK YOU'RE CUT OUT THIS JOB. I'M ONLY LETTING YOU IN ON THIS BECAUSE I OWE YOU. YOU NEED THE MONEY. YOU'LL DO WHAT I SAY PENNY. MORGANA GRAB THE BLUE PRINTS

PENNY: HEY MORGANA!!!! HEY KAS I CAN DO THIS ALRIGHT. GEEZ EVER SINCE WE WERE IN CARE YOU'VE ALWAYS PUT YOURSELF AS THE CLEVERIST ONE

KANSANDA: CAN YOU HEAR YOURSELF RIGHT NOW? AND I TOLD YOU DON'T CALL ME THAT. ALRIGHT SHUT UP, HERE'S WHATS GOING TO HAPPEN.

PENNY: GO ON SHOOT

KASANDRA: YOU GO IN AS THE CLEANING LADY. ON YOUR PERSON YOU HAVE THE KEY CARD, THE LASER AND THE EMPTY SACKS.

PENNY: A CLEANER SERIOUSLY, WHY NOT A MODEL?

KASANDRA: SHUT UP UNTIL I FINISH. RIGHT SO THEN YOU OPEN DOOR 4 WITH THE KEY CARD AND I'LL BE ON THE OTHER SIDE WITH THE CODE BEAKER FOR THE SAFE AND THEN MORGANA IS GOING TO BE OUT FRONT. WE HAVE 9 MINUTES 24 SECONDS TO PULL THIS OFF BEFORE THE ALARMS SIGNAL. THEN SAY ABOUT 2 MINUTES BEFORE THE LOCAL FEDS ARE TRYING TO TASE US

PENNY: ALRIGHT. SOUNDS PRETTY DECENT TO BE FAIR ERM APART FROM THE TASER BIT. YOU LEFT THAT OUT.

KASANDRA: ARCHIE AND HIS CREW WILL BE SO PISSED. ALL FEMALE HEIST SQUAD. BRILLIANT.

PENNY: RIGHT I'M COMING TO YOU NOW.