Transition of Image and Sound- Important in editing. A cut makes the transition by connecting the last shot of one scene to the first shot of the next. Sometimes a transition is executed by a cut from a transition shot, such as a plane taking off or a building, to the first shot of the next scene. In a swish pan, the scene ends with the camera suddenly panning so fast that the image blurs. A cut to the next scene follows.
Overlapping sound can help to smooth transitions by anticipating a scene's visual beginning with its auditory beginning: a character may refer to the location of the next scene while a cut to it is made, and the conversation continues while the visual image of the new location comes into view.
Offscreen narration, or voice-over, usually by a character, can help keep the film together and maintain our interest while communicating a story economically. Offscreen sounds, such as crowd noises, an echo, amplified heartbeats, or a scream may increase anticipation, suspense, or excitement, revealing a private emotional experience and raising our level of involvement in the characters' dilemma.
Other transitional devices include special effects like fades, wipes, and dissolves.
Jump cut: This is a cut in editing where the middle section of a continuous shot is removed, and the beginning and end of the shot are then joined together. The technique breaks continuity in time and produces a startling effect.
Eyeline Match- Editing employs the eyeline match to preserve continuity and make the cut less noticeable. In an eyeline match 'shot 1' shows a character looking offscreen and 'shot 2' shows what the character is looking at. The character's gaze is directed precisely so that it corresponds to the layout established in earlier shots. This matching keeps the relations among characters and objects consistent from one shot to the next. At the same time, the eyeline match makes the cut slightly smoother, since the viewer expects the cut and is eager to see what the next shot will show.
Graphic Match- Two successive shots joined so as to create a strong similarity of compositional elements, for example, colour or shape. Used in transparent continuity styles to smooth the transition between two shots. Graphic matches can also be used to make metaphorical associations. Furthermore, some directors like use graphic matches as an integral part of their film style.
Action Match- Editing typically embeds cuts in the middle of an action - a technique known as a match on action. This technique helps "hide" the cut, since the viewer is paying attention to the action rather than the edit.
Shot/Reverse Shot: This is a film technique wherein one character is shown looking (often off-screen) at another character, and then the other character is shown looking "back" at the first character. Since the characters are shown facing in opposite directions, the viewer assumes that they are looking at each other.
Continuity System- Virtually universal in film and tv, the continuity system aims to present a scene so that the editing is "invisible" (not consciously noticed by the viewer) and the viewer is never distracted by awkward jumps between shots or by any confusion about the layout of the scene. Classical editing achieves a "smooth" and "seamless" style of narration, both because of its conventionality (it is "invisible" in part because we are so used to it) and because it employs a number of powerful techniques designed to maximize a sense of continuity. A key element of the continuity system is the 180 degree rule, which states that the camera must stay on only one side of the actions and objects in a scene. An invisible line, known as the 180 degree or axis of action, runs through the space of the scene. The camera can shoot from any position within one side of that line, but it may never cross it. This convention ensures that the shot will have consistent srelations and screen directions. In other words, characters and objects never "flip flop" ;) A key aim of the continuity system is to ensure that no edit calls attention to itself or strikes the viewer as confusing, inconsistent or awkward. The 180 degree and the conventionality of the editing formula described above do a great deal to achieve this end.
Non Continuity System- By breaking down continuity, filmmakers reveal that film is ‘constructed’, not ‘natural’, and also challenge the relationship between cause and effect and the assumed ideologies of Hollywood.
CUTTING- A cut is a change from one shot to the next. It may be from a wide shot to a close-up, from an exterior to an interior scene, from someone starting an action to completing it, or from one scene to the next. Cuts connect people, places, and objects. There might be a cut from the street to the inside of a car driven by one of the characters, or from a person going up in an elevator to being inside a room high in a skyscraper. Another cut may then be from the character in the car to the car's involvement in a chase or accident or to the person in the room jumping out the window, cuts like these also allow for the use of stunt people or dummies.
Cross Cutting: This is an editing technique used in films to establish continuity. In a cross-cut, the camera will cut away from one action to another action. Because the shots occur one after another, cross-cutting is used to suggest simultaneity of action.
Parallel Editing: Parallel editing, or crosscutting, a cinematic convention in which two or more concurrent scenes are interwoven with each other. It can be used to show the differences between two separate experiences, e.g. two separate peoples journey to the same party.
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