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the continuity girl — sees to it that if a scene is shot from more than one angle, the background and positions of the players remain the same in each take. Clearly, if a long shot of a room showed a fire burning in a hearth, and the following mid-shot revealed the grate empty, then a cut from the one to the other would create a false impression. Keeping the set background constant throughout a series of shots is, however, a comparatively simple matter.
A more difficult aspect of the same problem is to keep the action and movement shown in consecutive shots accurately continuous. If an actor starts a movement — say he is half way through opening a door — in one shot, then that movement must be continued in the next from the precise moment it was left. If the editor cuts the two strips of film together in such a way that a part of the action is duplicated in the two shots the effect will appear unnatural. Equally, if he skips a piece of action — say he cuts from the shot where the door is half open to another where it is already closed — there will be a noticeable jump in the continuity and the cut will not be smooth.
The matching of actions in two consecutive shots is a comparatively simple matter for the experienced editor, and even for the novice it is only a question of experimenting until a satisfactory cutting point is reached. More difficult, and also more open to opinion, is the problem of where in the course of a particular piece of movement the cut should be made.
Take an example. A man is sitting at a table on which stands a glass of wine. He leans forward, picks up the glass with his right hand, brings it to his lips and drinks. Let us assume — as shown in Figure 1 — that this simple scene has been covered from three different angles and consider the various ways in which the editor could cut from one to another.
If the intention is to cut from long to medium shot, the editor could do one of two things. He could let the action start in long shot, and then at some point during the downward (or upward) movement of the man's arm cut to the matching mid-shot. Alternatively, he could wait for the point when the hand grasps the glass, and time the cut in such a way that the whole of the upward movement appears in the second shot. Without being dogmatic about the point, we can say that it is normally preferable to use the second method. By showing one specific movement in long shot and the other in mid-shot, the cut does not interrupt a continuous flowing movement, but is, so to speak, punctuating the whole
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