Good continuity is not just being good at observation. It is knowing what is important to observe.
Once you know what the shot is you can observe as necessary.
It really is rather a wasted exercise giving detailed information about the clothes an actor is wearing when a large close-up of the face is being shot. It is also unnecessary to worry too much about the position of the props in such a close-up, unless the props are in frame or brought into frame, i.e. a close-up of someone drinking or a cigarette being brought up to the lips.
Be aware of exactly what is in shot. For example, someone is reading a book and turning the pages over frequently. In a close-up, all you see is a face, frowning with concentration; in a wide shot you see the whole action with the book in shot. In a mid shot, even though the book itself is not visible do not ignore the operation of turning over the pages, because the upper arm and shoulder movements will be noticeable.
In a very wide shot, it isn’t necessary to be as observant of the minute details of actions and props as in the closer shots. In a wide shot of a pub interior with many actors sitting and standing with their drinks, the exact levels of the drink are unimportant, as long as something is in their glasses.
In a very long shot it might prove to be immaterial whether or not there is any drink at all, as it is impossible even to see the glass.
Size of Shot
Close shots
Only worry about the clothes or props when these are in frame (A, B).
Mid shots
It is important to know exactly what is in shot. All you see in the close-up is the face (C). In the wide shot you see all the action (D). In the MCU you will see the upper arm movement (E).
Wide shots
You do not have to be as observant of the minute details in this busy shot (F).
Very wide shot
In this wide shot (G) it is just possible to see the three figures – in a bigger shot (H) their clothes and props can be seen more clearly.
