Always draw a quick, rough sketch of each shot. Draw the heads of the characters, denoting their positions in relation to the camera, and their noses, and dot in an imaginary line. Show, in addition, the main props and set dressing. You do not have to be good at art in order to draw a perfectly acceptable diagram. I never progressed beyond stick men at school!
Once you have a diagram of the shot you can use it to match subsequent shots. If you are at any stage confused as to whether the shot about to be taken crosses the line you can show your initial drawing to the director and cameraman, and it will be immensely helpful.
Everyone relates to pictures – that is, after all, the basis of this industry – and it is far easier for you and everyone else to match pictures represented in diagrammatic form rather than try to unravel wordy paragraphs giving the same information.
Note down exits and entrances from the camera’s point of view, which is also that of the viewer.
Polaroid cameras are an extremely useful tool for anyone doing continuity, especially for costume and set details, but they are not substitutes for your own simple drawings and notes.
Don’t think that by standing beside the film or video camera and taking a picture you will necessarily get a photograph of the same size as that being shot by the cameraman. If you want a close-up photograph of the set dressing on a table go close to the table, possibly stand above it, and then take a picture.
Try to ensure that you have a camera that is in good working order and look after it on location. Don’t forget to take plenty of film with you, as it might be hard to obtain in Outer Mongolia!
Always do a rough diagram of the shot, showing the camera position as well as the actors and main props. It does not matter how rough your diagram is, it will be of enormous help in matching future shots.