Let’s remedy the most basic query to start with. “Continuity” is the illusion that will allow cuts in a film to appear seamless, when in fact the two photographs we see might have been filmed hours, times, or even months aside. For instance, one character throws a punch, and there’s a reduce to a broader angle in which the punch lands. In the second shot, we may not even be on the lookout at the same two people today the actor acquiring punched in the facial area may perhaps have been stealthily changed with a stunt performer, with the shot angled to disguise their encounter. It’s a grand magic trick with a full crew of magicians collaborating to pull it off.
Possibly for the reason that our brains are used to looking at continual motion in genuine everyday living, they are fairly effortlessly fooled into wondering that the motion in 1 shot was immediately followed by the motion in the up coming shot. Most of the time, we are not even consciously mindful of cuts as we’re viewing a film. As editor Walter Murch (“Apocalypse Now”) wrote in his e book “In the Blink of an Eye,” the perfect slice “really should appear just about self-evidently uncomplicated and easy, if it is even observed at all.” He describes the relieve with which humans tailored to cuts in movies as a type of wonder:
The mysterious component of it, even though, is that the becoming a member of of people parts … really does seem to operate, even nevertheless it signifies a full and instantaneous displacement of one particular subject of eyesight with yet another, a displacement that at times also entails a jump forward or backward in time as effectively as area.
Murch goes on to explain that certain cuts have a higher tendency to disorient the movie viewer, and from this emerged the “rules” of editing. 1 of the greatest-identified rules is the axis of motion, or the 180-diploma rule, which dictates that if we are on the lookout at two people, the “eye” of the digicam need to keep on being on just one side of them. If a character is on the still left facet of the body and the eye of the camera out of the blue jumps to the other side, so that they are now on the correct, the outcome is jolting for the viewer. Abruptly, they are aware of the slash. Murch carries on:
The discovery early in this century that sure kinds of chopping ‘worked’ led virtually immediately to the discovery that films could be shot discontinuously, which was the cinematic equal of the discovery of flight: In a functional sense, movies have been no extended ‘earthbound’ in time and area … Discontinuity is King: It is the central truth during the output phase of filmmaking, and almost all decisions are immediately linked to it in a single way or a further — how to defeat its issues and/or how to finest just take advantage of its strengths.