RULES OF CONTINUITY

By Miguel Njera

1. THE 180 RULE [axis of action]

The 180 rule is a basic guideline in film making that states that two characters (or other elements) in the same scene should always have the same left/right relationship to each other.

Viewers must be oriented to where actions are taking place in space and time

If the camera passes over the imaginary axis connecting the two subjects, it is called crossing the line. The new shot, from the opposite side, is known as a reverse angle.

Rules of Continuity

How to cross the imaginary axis?

Transfer the imaginary axis by travelling around the characters in a continuous manner Cross the imaginary axis through the use of o Shots with internal neutral direction o Inserts o Cut-aways

Cross the imaginary axis once the sense of space in the scene has already been shown and understood Cross the imaginary axis to disorient the audience Cross the imaginary axis to add drama Cross the imaginary axis taking advantage of internal movement of characters and objects in the shot

2. THE 30 RULE
The 30 rule is a basic film editing guideline that states the camera should move at least 30 between shots of the same subject. This change of perspective makes the shots different enough to avoid a jump cut.

Jump-cut
A jump cut is a cut in film editing in which two sequential shots of the same subject are taken from camera positions that vary only slightly. This type of edit causes the subject of the shots to appear to "jump" position in a discontinuous way.

How to use this rule to avoid jump cuts?

Change the camera angle more than 30 from one shot to shot Change the frame from shot to shot (2 steps recommended, though one step works out well). Example: o Full shot -> American shot -> Medium Shot o American shot -> Medium shot -> Medium close-up Use jump cuts as narrative possibilities, but be coherent with the style

Rules of Continuity

3. CONVERSATIONS/INTERACTIONS [shot/reverse shot & over-the-shoulder approach]

Use similar camera angles from each side Use similar frames Take care of the sense of space

4. SENSE OF DIRECTION [internal to the shot: left-right/right-left]

Take care of it by travelling around the characters in a continuous manner Take care of it by using o Neutral-direction shots o Inserts o Cut-aways

Avoid it to disorient the audience Disorient to add drama

Rules of Continuity

5. EYELINE MATCHES

6.

TECHNICAL VISUAL QUALITY OF THE SCENE

Use the same film stock during the shoot Use the same type of color correction filters Use lights with the same color temperature Use lights with the same types of gels Schedule the shoot of the scene with time continuity (as possible)

7.

TECHNICAL AUDIO QUALITY OF THE SCENE

Record crisp dialogues by isolating your location from external/environmental sound sources Record your dialogues using an external audio recorder Record wild sounds in layers [at least 3 minutes each wild sound take] so as to have material to work on your sound design; example of cafeteria: o Wild sound of costumers o Wild sound of cutlery at work, glasses, costumers eating, drinking, etc. o Wild sound of the street noise o Etc