Just as important as temporal continuity to the overall continuity of a film is spatial continuity. And like temporal continuity, it can be achieved several ways: the establishing shot, the 180-degree rule, the eye-line match, and match on action.

Continuity in filmmaking is the practice of ensuring that details in a shot are consistent from shot to shot within a film scene. When there is continuity between shots, then audiences have a greater suspension of disbelief and will be more engaged in the film.

A script supervisor (also called continuity supervisor or script) is a member of a film crew who oversees the continuity of the motion picture including wardrobe, props, set dressing, hair, makeup and the actions of the actors during a scene.

The purpose of continuity editing is to tell a story by creating a spatially and temporally coherent sequence of events and actions (Bordwell, 1985; Bordwell & Thompson, 2006) with the end result of enabling the viewer to perceive a sense of causal cohesion across cuts.

We use continuity very frequently without realizing we’re using it. It’s the foundation of most approximations we make in physical science. Whenever we think f(x) can be approximated by f(y) because x can be approximated by y we inherently assume f is continuous.

Continuity editing is the dominant style of video and film editing. If you don’t know Montage editing, in short is when a series of short shots are edited into a sequence to condense/shorten time and the information. A montage sequence is usually used to suggest the length or passage of time.

A continuity editing technique that preserves spatial continuity by using a character’s line of vision as motivation for a cut. In a standard shot sequence, the establishing shot is the first shot. Its purpose is to provide a clear representation of the location of the action.

1898

Overlapping editing prolong action and stretch it out pasts its duration in the film or tv show usually to signify importance. The camera shoots the actors from different angles in the same scene. Overlapping editing allows the viewer to see the action from each of those angles.

Script supervisors work in the television and movie industries and maintain the script continuity during all stages of filming and production. They may help actors and directors interpret the script, maintain logs of daily scene shots and include production notes and suggestions to help maintain the continuity.

In filmmaking, the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. By keeping the camera on one side of an imaginary axis between two characters, the first character is always frame right of the second character.

A point of view shot (also known as POV shot, first-person shot or a subjective camera) is a short film scene that shows what a character (the subject) is looking at (represented through the camera). The technique of POV is one of the foundations of film editing.

Point of view refers to who is telling or narrating a story. A story can be told from the first person, second person or third person point of view (POV). Writers use POV to express the personal emotions of either themselves or their characters.

Objective point of view (also called dramatic point of view), unlike limited point of view, does not interpret characters’ thoughts and feelings for the reader. Here you simply present characters’ actions and dialogues to the reader. The narrator doesn’t explicitly tell the reader what a character thinks or feels.

POV generally refers to a shot that directly represents a character’s viewpoint; we see only what they can see. All films and television shows present their stories from a certain point of view, and if that changes, it can completely alter the story — or at least how the audience feels about a character or situation.

If you want to write the entire story in individual, quirky language, choose first person. If you want your POV character to indulge in lengthy ruminations, choose first person. If you want your reader to feel high identification with your POV character, choose first person or close third.

Rowling wrote all seven Harry Potter books using a third person limited point of view that made Harry the focal point. The narrator can tell us what Harry’s thinking, feeling, and seeing—as well as zoom out to tell us more about the precarious situations he finds himself in.

One of the complaints that I take issue with is this: a fair number of readers dislike the fact that the stories are told from Harry’s point of view, with some of the action happening “off camera.” Rowling chose to use a close third person narrator for the series.

Stephen Fry is returning to the world of Harry Potter to read a chapter from The Philosopher’s Stone for a JK Rowling project. The actor and comedian, 62, narrated the audio books for the series about the boy wizard between 1999 and 2007.

When it comes to Harry Potter audiobooks, the most epic rivalry is Stephen Fry vs. Jim Dale. Both have narrated all seven Harry Potter books, like Harry Potter and The Goblet of Fire and Order of the Phoenix, both are beloved British actors, and both have been trolled by angry YouTube commenters.

Jim Dale