interested audience member during a podium discussion lets you
then cut back unobtrusively to a later point in the same discussion,
omitting the part between.
External transitions show something apart from the action. For
example, during a shot inside the marriage registry, you might cut to
the exterior of the marriage registry, where a surprise is already
being set up.
Transitions should underscore the message of the film and must
always fit the respective situation, in order to avoid confusing
viewers or distracting from the actual storyline.
Logical sequence of action
The shots strung together during editing must interact appropriately
in relation to the action. Viewers will be unable to follow the events
unless the storyline is logical. Capture viewer interest from the very
beginning with a fast-paced or spectacular start and maintain that
interest until the very end. Viewers can lose interest or become
disoriented if scenes are strung together in a manner that is illogical
or chronologically false, or if scenes are too hectic or short (under
three seconds). There should be some continuity of motif from one
scene to the next.
Bridging the gaps
Make an effort to bridge the gaps from one filming location to
another. You can use close-ups, for example, to bridge chronological
jumps, zooming in on the face, then back out after a few seconds
onto a different scene.
Maintain continuity
Continuity – consistency of detail from one scene to the next – is
vital in providing a satisfying viewing experience. Sunny weather
does not fit with spectators who opened their umbrellas.
Tempo of cuts
The tempo at which a film cuts from one scene to the next often
influences the message and mood of the film. The absence of an
expected shot and the duration of a shot are both ways of
manipulating the message of the film.
