Editing—a cut—causes time, locations and perspectives to change. The continuity of what’s happening in the movie is interrupted. But there are ways to make these cuts inconspicuous for the viewer. This is known as “continuity editing.” Continuity editing isn’t about creating actual continuity, but about giving the viewer the impression of continuity by using cuts that he or she is unaware of. On the one hand, you need to find the right spot to make a cut (e.g. define what sections of material should be used). The starting and ending points for each shot need to be defined separately. On the other hand, you need to decide where one shot ends and the next begins, that is, where the transitions between individual shots should go. Transitions take the viewer from one shot to the next and in doing so create a narrative context, anticipation, and suspense. The question as to where you should cut a given shot always depends on the shot that follows it. The issue of how long to make a shot can also only be addressed once you know how long the preceding and following shots are. By assigning lengths to your shots in relation to each other, you create a cinematic rhythm which allows you to control the dramatic effect of how the story is being told. Once again, it comes down to context. And while this might seem like a vague explanation, there’s no need to worry. There are more specific answers to the question of how and when to make cuts that have been developed throughout the course of cinematic history. Editing professionals are in disagreement about whether these are universal laws, recommendations, or even totalitarian pretension. But we don’t need to concern ourselves with this ongoing discussion. The classical rules of editing are the result of many years of professional editing work. Learning about these principles can only enhance your technical skill.