This week, I will be going over everything I learned involving continuity editing, defined by Adobe as using “a variety of classic film editing techniques to blend multiple camera shots — some taken at different times or even different locations — into a seamless, consistent narrative” (What is continuity editing in film?).
In an effort to learn more, I read chapters three and four of Tom Schroeppel’s The Bare Bones Camera Course for Film and Video, learning about both basic sequence and screen directing when shooting.
The Bare Bones Camera Course for Film and Video
Chapter Three: Basic Sequence
This chapter really breaks down the “basic sequence” — that familiar progression from a wide shot to a medium to a close-up. It’s so common you barely notice it, but once Schroeppel lays it out, you realize how much deliberate planning sits behind something that feels so effortless. The wide shot grounds the viewer in the space, the medium pulls you closer into the action, and the close-up zeroes in on the emotional or informational details that matter most. Schroeppel makes it clear that good sequencing isn’t about shooting pretty angles—it’s about building a logical visual flow. That’s why matching action from shot to shot is such a big deal. When movement carries cleanly across cuts, the story feels like it’s unfolding in real time, even if you’re jumping between lenses and camera positions. After reading this chapter, I may never watch some of my favorite films the same!!
Chapter Four: Screen Directing
This chapter digs into screen direction—one of those concepts that seems invisible until someone finally points it out. Schroeppel breaks down how consistent left-to-right or right-to-left movement anchors the viewer’s sense of where characters are in relation to each other, which I thought was really interesting. When someone walks across the frame or turns their head, they need to maintain the same directional flow in the next shot; otherwise, the audience feels an instant, almost subconscious jolt of confusion. That’s where the 180-degree rule comes in. By staying on one side of the imaginary line between subjects, filmmakers preserve eyelines, geography, and the sense that everyone is actually occupying the same space. Even a small, accidental shift can make a character look like they’re suddenly facing the wrong way, which is why this rule is such a staple in both filming and editing.
But the chapter also makes it clear that screen direction isn’t just about avoiding mistakes—it’s a tool that can be bent or broken for effect. Filmmakers can intentionally cross the line to signal a shift in energy or perspective, as long as the audience is guided through the transition with a neutral shot, a motivated camera move, or a cutaway that resets spatial logic. Great examples of this show up in tense scenes where directionality shapes mood: medium shots ground us in the physical layout of a cramped space, while careful cutaways and sound design hint at action just outside the frame. Nothing feels decorative; every shot is chosen to control attention, guide emotion, and maintain clarity. By the end of the chapter, it becomes obvious that screen direction isn’t just a technical rule—it’s a subtle, powerful way to make movement readable and storytelling intentional.
Here are some examples of smoother continuity editing seen throughout projects:
The Hunger Games: Catching Fire – Katniss Training Scene
In general, Catching Fire uses smooth continuity when showing Katniss moving through the Training Center. In this scene, the editors match her movement across angles so each cut feels like a natural continuation of her actions. Wides establish the space, mediums highlight strategy or tension, and close-ups capture emotional beats. It’s a clean example of how continuity keeps large environments understandable. Keeping close to Katniss in this scene, we can feel how intimidating or important this drill must be, while also seeing her perfect accuracy with her bow from farther shots.
Stranger Things: Season Four, Episode Four – Max’s Song Scene
This scene cuts between wide shots of Max in the Upside Down, close-ups of her terrified expressions, and medium shots following her as she runs. Even though the angles shift constantly, the motion stays smooth and aligned with the music. That continuity keeps the tension rising without confusing the viewer, and it shapes a clear emotional narrative — Max fighting for her life, her friends fighting for her, and the desperate countdown created by the beat of the song.
Crazy Rich Asians – Wedding Scene
This beautiful, emotional wedding scene uses both wide and medium shots to establish the scale of the ceremony, then close-ups to highlight character reactions and the moment’s intimacy. Every cut aligns with the movement of the bride or the flow of the water down the aisle. Combined, everything is smooth, romantic, and visually coherent — perfect for showing continuity in a non-action context.
Editing My Own Tutorial
When creating my own tutorial using continuity editing, I wanted to make sure I had an engaging, fun idea. Since I’m into fashion, I thought a styling video would fit well! For this tutorial, after a cold day trip to New York I thought tying a scarf would be fun, since there’s so many ways to do so. Using two different angles, I was able to show my audience how to tie a scarf three different ways, all pretty simple. In the end, I really liked how this tutorial came out, and using multiple angles really helped in assisting my ideas!
View the tutorial here:
Leave a Reply