Oceans 11: Continuity Editing

Oceans 11- Stephen Soderbergh, 2001



This scene, although not using an extremely varied amount of shot, uses techniques of continuity very well.
A LS of Rusty and Linus establishes they are in the lobby in the hotel. As the whole way through the film, Rusty is constantly eating, and now is no different, hence they have made him eat a prawn cocktail. A matched-cut to a MS allows us to focus on just those two characters rather than their surroundings. Rusty is looking around to check for people coming, and is trying to look cool and collected (whilst still eating of course), where as Linus is very shaky and nervous which is shown by him moving around within the shot more. At 0:31 we see Rusty is still eating prawns which helps with the continuity. Another matched-cut at 0:41, followed by a eye-line match to what he is looking at allows the audience to focus with him, and Ben drawn in from his POV. It is apparent Linus is looking at something as his eyes appear quite fixed. A tilt up shows an attractive woman walking down the stairs, which is emphasised by the dramatic music. A dissolve into the next shot is used to show the time passing as she walks down the stairs, rather than watching her actually walk down the stairs. A pan across of her walking reverts the audience back to the master shot of Linus and Rusty, and an eye-line match shows Rusty to be looking at the woman now known as 'Tess'.
This shot uses good continuity as it uses good editing techniques, and the producers were very careful to makes sure nothing looked weird (like Rusty's food) so that it created a seamless effect.
When Rusty recognises Tess (not appearing particularly happy about the fact she is there) , the audience want to know more. An ellipsis at 1:23is used. This is to cut out the time when Rusty would go to see Danny, because the audience are aware that he is going to see him.

My Best Friends Wedding: Continuity Editing

My Best Friends Wedding- P.J. Hogan, 1997

This scene uses a variety of shot types and angles, whilst using camera work to reflect the mood of the scene. It also follows all the techniques of good continuety.


This scene starts with a CU of Jules' face looking forwards, but not at the camera. From watching the film we know she is at the wedding of someone she is in love with and so we can determine that she is looking at the couple. By using a lot of CUs and MCUs it made you focus on the telephone converstation, and Jules' facial expressions, rather than the busy party going on behind her. The camera zooms out to reveal a lavish wedding with many guests, this is shown further by the fancy glasses and arrangements of flowers. Jules answers her phone and from the voice, as well as the look on her face we know that it is George, her best friend. By using a MS of Jules' it gives you enough background information whilst still providing facial expressions as well as movement. Jules' looks to her left and then the camera cuts to the direction of which it appears she was looking, which works very well. A cut to a MCU of her face shows a closer and more personal facial expression allowing the audience to interact closer to her and feel sorry for her . An MCU allows the audience to recognise each of the things George is saying to her one by one; the laveder gown, hair swept up. When he says "haven't touced you cake" the camera cuts back to the left of her again, and sees that her cake is infact untouched and she is drumming her fingers on the table. This time this shot appears as if someone is watching her because there is not a clear shot, the camera is seeing Jules through the people dancing, as someone who was sitting there would. A cut back to the master shot of Jules' face shows her facial expression , which works well as it shows her shock and confusion. Jules loks over to the band and wich cuts to a cutaway shot, of the band which emphasises that this is what she was looking at. A cut back to Jules' shows her about to stand, which the quickly cuts back to the shot on the left of her, where we believe someone is watching her. The camera move fluidly like her movement, and is very smooth. The camera cuts to a different view of her searching (MLS) which just enhances her behaviour of not knowing where to look, and almost makes the audience confused with her. As she walks she passes a couple dancing and then camera cuts to a MCU of her, which shows the same couple in the background which shows continuety. After frantically searching her eyes fix on something, and the camera cuts to a LS of George sitting and also talking on the telephone. Another MCU of Jules shows relief on her face, which makes the audience very happy. From 1:33 onwards the caerma work is a twist on a shot reverse shot, as the characters are far away, but are still in converstaion (Albeit on the phone) and the shots alternate between a MCU of Jules and a LS of George. The camera tilts as George stands up which makes it more realistic. Two OTS shots show perfect use of shot-reverse-shot during conversation. These 30 or so seconds stick perfectly to the 180 degree rule. The camera tracks out after he says "dancing" to fit the whole dancing sequence in(spin and all!) As she is dancing the camera moves in an out to create the impression she is more important in the shot. A cut to a CU of her face, and then a CU of his face show them both happen and enjoying themselves. Cut to a zoom out to get a feel of the room, and everyone dancing and having a good time. Which then leads in nicely to a MS of the singer in the band. Amall montage of different couples dacing (including George and Jules) show that weddings are a happy place,a dn make the audience feel happier (which rom-coms are meant to do.) We are shown character that had parts in the film so they are familiar to us. At 3:16 the camera arcs around the two of them showing them both smiling and laughing, and ends with a fade to black. This scene is very effective is generatnig emotion in the audience by its camera work and framing.

Sliding Doors: Continuity techniques

Sliding Doors-Peter Howitt, 1998

Continuity is extremely important in a film, as it is what makes the film real and believable. by create a seamless effect in the editing department, you shouldn't even be able to notice the editing, as so being more focussed on the story of the film

The shot starts with a clip of the band playing. The music continues to play throughout which keeps it believable. You see a MLS of Helen sitting at the bar looking sad and you can still see the band playing in the background. It then cuts to a two shot of James and his friend which shows they are going to be important in this scene. The shot pans across so that you can see Helen at the bar. James is talking and sees Helen and calls out her name. It then cuts to a MCU of Helen and her eye line matches that of James so we know she is looking at him. A cut to James introducing himself to her and looking in her direction. The camera stays within the 180 degree rule as it stays the side of the bar the whole time. The camera then track along the bar as James walk towards Helen. Helen is still smoking and drinking a beer which give the impression that this scene is happening in real time, rather than having taken hundreds of takes to make it perfect. Shot-reverse-shots of Helen and James atay within the 180 degree rule. You notice that in one shot behind helen a waiter is waiting with his tray for some drinks to be collected, and then the next shot of Helen you see the drinks get put onto the tray and be taken away, which helps create a seamless effect. During and OTS shot of Helen James truns around and points to the other end of the bar. A cutaway shot is used of James' friend to show what he was pointing to. This is also called a reaction shot. A couple more shot-reverse-shots for conversation between Helen and James cut to a MLS of the two of them Talking and laughing which gives more atmosphere to the surroundings. This sequence works well as it uses conversation techniques (with the camera work) well whilst not sticking rigidly to the rules (James turns around from the OTS shot).

The Bone Collector: Clip Analysis

'The Bone Collector' (1999)

I chose this particular shot from 'The Bone Collector' as it has a variety of different shot types and uses different distances and angles very well to create chilling and creepy scene.

The clip starts with very low-key lighting, and the camera tracks forwards towards two silhouettes and a torch. The camera starts to fol ow to two people down the stairs when suddenly they are underneath a light and you can see a woman, who is then suddenly pushed against the rail of the stairs, close to the camera. This is a good effect as the two people have moved closer into the shot to make it a MCU which i think create more action. This shot also works well at establishing a woman with her mouth taped up (victim), and a dark man (killer) who shines a torch in her face, which is how we can see the both of them. The next shot starts at the bottom of the stairs looking at the killers feet which is effective as it is mysterious and creates an enigma about the murderer as you don't see his face. We know he is the killer rather than the woman because he is much more forceful, and she is screaming. This shot then tilts upwards and follows the killer walking the woman across the room. This is turns into a LS to establish the room to the audience now they are in a lighter area. The next shot of the woman is a CU which is used to show how scared the woman is. This shot the tilts up to show the killer securing her hands in place with old fashion hand-cuffs. Next an ELS helps to further establish the setting they are in, which looks eerie and dark, and the because of the steam, and the fact they went downstairs could perhaps imply they are underground. There is a spotlight on the victim to draw your attention to her. Another CU of the victim, but then a CU of the Killer. This is very significant because although he is wearing a mask, this is the first time we see the killers face in the movie. His mask has slits cut out of it which make him look edgy and weird, the scene almost appears to go in slow motion to emphasise this dramatic moment. Also their is dramatic music to enhance the frightening atmosphere.

(there is a small editing mistake in this version of the clip, sorry)

We then see the killer twisting a handle. The noise of this is particularly creepy as it is squeaking implying that it is old , which usually signifies something dangerous. This shot is almost an OTS shot as you can see the victims arm in the left hand corner.
At 1.03 there is a LS of the victim watching the killer. This shot is done on an angle and almost looks like someone is watching them. The use of a tilted angle low shot enhances the eeriness of the scene as it makes it less normal, and more creepy. A high angle shot at 1.09 does effectively the same job as the tilted angle, whilst giving some sort of an overview as to what is going on. The loud jolty noise is meant to scare the audience, and so they use a CU of the woman and show her scared expression. When the large pipe begins to turn round the audience are meant to feel very scared, as you do not know what is going to happen, and why the pipe is needed. The angle from which we look at the pipe, although is behind then woman, we still see what she would see as well and so we would assume we feel the same as her. There is then an ECU of the woman's eyes which is very chilling as you can see the fear in her eyes, which is shown by how wide her eyes are. It's also quite frightening because you can see blood on her head, and it enhances the scary atmosphere. Once the pipe is fully in front of her, there is a shot (MCU) in which the pipe takes up half the screen, and the woman the other half. This shot is effective as it shows the pipe to be something scary and dominant, and the woman looks weak and thin. As the audience we now begin to think what is going to happen, and perhaps something is going to come out of the pipe. At 1:35 the woman looks scared and starts to try to get away, and struggles in her restraints. This leads us to believe that she is perhaps looking at the killer, who is about to do something bad, we then see then killer grab her arm which heightens the suspense. A BCU of the woman shows her to be even more scared and her eyes are wide open. The use of a BCU is very effective as you can see her facial expression so clearly, and get you right in on the action. The scream indicates something bad has happened to the woman, but she is not dead because we see her later

I particularly like this clip because although it is a bit scary, it uses camera work and framing so effectively to build suspense and tension.

Once upon a time in America: Clip Analysis

Clip Analysis

I chose to analysis this bit of film because it contains different shot types and uses the camera to show the perspectives of people very well.



The shot starts with a VLS, and the boys walk into shot. The camera then tracks across and slightly cranes above. This establishes there location (a street in the rougher side of New York, and from the old fashioned cars and police on horses, we can assume it is around the 1920s/30s.) By seeing the bridge in the background we can now tell they are in Brooklyn. After a series of 2 more tracking shots there is a MS of all the boys. This is used rater than a LS because it shows all 4 of the boys but also shows their expressions after what the boy has said. Clearly 'Bugsy' is someone to be scared of as they all run in the opposite direction. Some very dramatic music starts to play which enhances the frightening atmosphere. They use a variation on a frame-within-a-frame, through the wheel of a car. Which gives a perspective from a witness at the scene. It uses a low-angle shot when he young boy is running (towards the camera) because when he is shot he falls to the ground,which then makes the shot central (rather than low) . CU of the other boy's face ('Noodles'). This is used to show his full facial expression , of which he is clearly upset as his friend has been shot. After Noodles has dragged his friend out of the road, their is a zoom into the two boys face. This is used to exagerrate the heartbreak, which is emphasised by the small boy giving his dying last words, and the audience sympathise because he is so young. Another CU is used to show the pained expression of Noodles. There is a BCU of Noodles' hand with his friends blood on it. He then clasps his hand to show the anger of his friend murder, and the brotherhood between their gang. The killer 'Bugsy' is walking through the streets. This is shown through a sequence of shots through the windows of cars, or between canisters to show the perspective/POV of the people hiding. This creates suspense and an enigma as you don't know where the boys are or where the killer will choose to go. An ECU of Noodles' eye shows his anguish. You can see the legs of the killerfrom the POV of Noodles through the spokes of the wheel. This is very ominous as you cannot see which way the killer will go and you empathisebecause you do not wat the killer to come near Noodles. The scene ends with Noodles stabbing the killer and being taken away by the police. This i upsetting as you have grown close to Noodles and don't want him to be taken away.
This scene is done in slow motion to draw the scene out to make the death seem more painful

This is one of my favourite scenes from this film as it creates so much emphatic emotion.