Big Tiny Steps

This article is based on this outline here: https://bigtinysteps.com/2026/03/27/career-pivot-to-film-editor/

The definitions are adapted or copied from a conversation here: https://chatgpt.com/share/69c762a5-cb30-832b-9d6b-3899738d1223

Setup

This refers to a single arrangement/shot configuration of camera, mic, and lighting for a shot. You can have multiple setups for a scene.

For example, in a dinner scene, you could have the following setups:

1. A wide shot of 2 actors sitting at the dinner table
2. An over-the-shoulder of actor #1
3. An over-the-shoulder of actor #2
4. A closeup of actor #1
5. A closeup of actor #2

Take

A take is a recorded attempt by a setup. In many cases, only one setup is recording at any given time, and there are multiple takes for that setup.

Using the example above, you could end up with, say,:

• Setup 4, Take 1
• Setup 4, Take 2
• Setup 4, Take 3

What’s interesting in the cases where only on one setup is filmed at a time (which means only 1 camera rolling at any given time), in a scene such as a conversation at a dinner table, the entire conversation is assembled from pieces of dialogue from multiple takes.

For example, the first line of a conversation could be from, say, Setup 2, take 3.

The reaction shot for what the audience is hearing is taken from Setup 1, take 1.

So the editor’s job is to find the best possible option for a combination of best performance, but also setup (aka angle, lighting, and sound) to tell the story as powerfully and effectively as possible.

What’s also interesting is that the audience may never see one actor’s actual response (vocal or bodily) to the line being spoken on screen, since only 1 camera was rolling when that line was spoken. So while both actors were speaking their parts as normal during that take, the editor is not in possession of more than one side of a conversation at any given time. Basically, the audience is guaranteed to see a reconstructed version of the conversation.

This is where things like eyeline become really important to maintain consistency across all of the takes. But more on that later….

Coverage

This simply refers to the entirety of the footage taken as part of filming a scene, and the coverage is where the editor gets their options (setups and takes)

Master shot

A master shot encompasses the entire scene shot start to finish, with all of the characters visible and playing their parts/speaking their lines.

This can serve 2 purposes:

1. This is a type of setup that’s used as an “establishing shot”, which, especially when shown at the beginning of the scene, tells the audience where the scene is happening so that the audience can settle into the space and see the natural flow of the performance.
2. It can also be used as a tool, or guide for the editor so that they are understanding what is happening in this scene so that they’re not just left with fragments to assemble. The master shot offers information about blocking, continuity, timing, and emotional baseline among other important data.

A master shot is not always available, especially if there is very visually elaborate scene.

Shot Sizes

Close-up
Tight framing, usually on a face.
Used for emotion, intimacy, tension, thought.

Medium shot
Looser than a close-up, often around the waist or chest up.
Used for dialogue, body language, and a balance between person and environment.

Wide shot
Shows the full body or a lot of the surrounding space.
Used for geography, staging, movement, and showing where people are in relation to each other.

Over-the-Shoulder

A shot taken from behind one character’s shoulder, looking toward the other character.

What it does:

• Keeps the characters’ spacial relationship clear
• Makes the viewer feel as though they are in the conversation
• Gives a natural way to cover dialogue

Reaction Shot

A shot of a character reacting to something that was said or done.

What it does:

• Shows emotion without dialogue
• Shows emotional impact
• Is often more important than the speaking line itself

Important Distinction

A reaction shot is defined by its dramatic purpose, not by its framing. It could be a closeup, medium shot, over the shoulder, or anything else.

Insert

A close shot of an object or detail, usually something important to the scene.

What it Does

• Directs attention to a key detail
• Breaks up dialogue visually
• Can generate tension, meaning, or clarity

Continuity

Continuity means making the scene feel like one coherent event, even if it is built from multiple shots and takes. It’s important for keeping viewers “in the scene”. When it’s broken, it takes the viewer out of the story, and distracted by the construction.

Examples of broken continuity

• Someone is moving towards sitting down in one shot, but in the next shot they’re still standing
• In one shot, the glass is empty, the next shot, it’s full, and the next shot it’s empty again
• A jacket is buttoned, and then unbuttoned

Main Types of Continuity

Physical Continuity

Objects being in the right places, hair, hand position, etc

Screen Direction

Making sure that characters and movement keep moving in a consistent visual direction

Eyeline Continuity

Making sure that characters are looking at each other across cuts

Action Continuity

If someone starts sitting down in one shot, the next shot should match that movement naturally

Emotional Continuity

If the character is, say, furious in one shot and calm in the next, then the performance starts feeling fake

Important Note

Sometimes, other factors trump continuity when selecting a shot. These factors include:

• better performance
• stronger emotion
• better pacing

So continuity is not the ultimate goal. Believability and dramatic truth are the true objectives.

Eyeline

Eyline refers to where the character is looking, or where the eyes are aimed.

For example, if one character is camera-left looking at another character, and that other character is facing them, also looking camera left, then it will be confusing to the viewer.

Their eyes need to be pointed in the direction that the eyes would normally be pointed, so when assembling the scene, you need to make sure that you have the eyes pointed correctly.

Screen Direction

The direction a person appears to face or move in a scene. It helps viewers keep track of where everyone is spatially.

For example, if we see a character walking from left to right in one shot, and then right to left in the next shot, it might feel as though she turned around even if she didn’t. That would be a screen direction issue.

Or similar to the eyeline concept, except this refers to the way the body is facing. So if one character is standing looking screen left, then the other character should be standing looking screen right.