The Sequential Composition
Continuity
Continuity throughout a composition generates the feeling that space and time are fluid and continuous
Some of the comments below are taken from the chapter "Sequential Composition" of Jon Krasner's book
Spacial Continuity
Continuity can be used to structure both onscreen and offscreen space in a way that preserves the viewer’s cognitive map. This means, simply, that the viewer’s sense of where things are in the frame and outside of the frame is coherent and constant throughout the composition. There should be a common space between consecutive sequences so that the viewer’s flow of attention is maintained without disruptions.
frame mobility
The effect of mobile framing (or camera motion) on the sequential aspects of a composition can preserve spatial continuity.
graphic continuity
Graphic continuity considers the inherent visual properties of line, form, value, color, and texture. For example, instead of employing a fade to link two segments, you might decide to zoom into a shape that matches a shape in the following segment.
temporal continuity
Temporal continuity controls the timing of the action and contributes to a plot’s manipulation of story time—the way the order of events is presented. Events can be organized in chronological order or, through editing, can alter temporal succession to bring the viewer into the past, present, or future.
action continuity
The actions of animated graphic elements and live-action images can be carried smoothly across cuts and transitions to preserve both spatial and temporal continuity.
The following tips can help preserve action continuity:
1.) Cutting just before or after an action will emphasize the beginning or end of the action, rather than on the flow of the action between sequences. Cutting from a sequence containing a static element to a sequence where the element is in motion will create the effect of the element suddenly accelerating awkwardly through time. On the other hand, if you cut from a sequence that contains a moving element to one where the element is static, the element appears to come to an abrupt halt. Therefore, it is better to avoid the above scenarios and cut during an action to ensure maximum continuity.
2.) Cutting between different types of actions that move in the same direction will preserve continuity.
3.) When cutting during a camera move, such as a pan or zoom, continue the same motion in the following sequence.
4.) If you are panning with a moving element, continue the pan in the same direction at the same velocity in the following sequence. This will maintain the camera movement through the cut, as opposed to inter- rupting the cut. Otherwise, there will be a sudden distraction in the flow of movement, and this might appear as a mistake rather than an intentional decision.
Discontinuity
Discontinuity editing offers an alternative approach to editing using techniques that are considered to be unacceptable to traditional continuity principles. Although the classical continuity system has been the most popular historically, violating this system can produce aesthetic effects that may weaken the narrative but intensify its con- text. In fact, discontinuity editing is guided more by emotion rather than story. It can be used to enhance anticipation or arouse anxiety.