From “crossing the line” to inappropriate jump cuts, YouTube and TikTok are flooded with videos that show exactly how NOT to shoot a basic sequence. The reason? Anybody with a smartphone can create, upload, and share an online video almost instantaneously. Ironically, many of these short social videos provide a great opportunity to showcase a well-planned sequence — specifically, the ubiquitous “how-to” video.

Put simply, “how-to” videos provide viewers with detailed instructions to perform a task or learn a skill. Usually, step-by-step demonstrations are used to make complex processes easy to follow. Whether it’s learning to fix a leaky faucet or paint a perfect landscape, “how-to” videos work best when one long scene is broken up into several shorter scenes. This is the main objective of a basic sequence.

Of course, there are plenty of best practices when it comes to sequential storytelling through film or video. To create my own “how-to” video on hand-drawn background patterns, I took advice from the master of sequences himself, Tom Schroeppel. Here’s an overview of his most helpful advice.

Reading & Writing

The Bare Bones Camera Course for Film and Video, by Tom Schroeppel 

Chapter 3
According to Schroeppel, sequences typically start with an establishing shot, also referred to as a wide shot. Opening this way provides the viewer with a sense of place, which can be followed by medium shots and closeups. Both types of shots provide more detail and add color. Basically, sequences make storytelling more interesting by breaking long scenes into shorter, more digestible content. In addition, other interesting visuals can be included with cutaways. A cutaway shot allows the editor to change the length or order of the sequence. Bu the most important element of a sequence is that each new shot is a change in image size and angle from the previous shot.

Schroeppel also offers a list of ways to achieve a smooth sequence. For example, cutting on the action allows the viewer to follow movement on the screen. With this technique, the editor can cut from a medium shot to a closeup during a specific action. Importantly, the last action of the first shot needs to be repeated during the initial action of the second shot. This approach helps maintain visual continuity. A similar effect can also be achieved with clean entrances and exits. By shooting the same scene multiple times from different angles, editors can take advantage of the flexibility that these techniques provide.  

Chapter 4
Chapter 4 is all about screen direction and “crossing the line,” two very important, and related, elements of a basic sequence. Screen direction is straightforward and refers to the way things move or face within the camera’s frame. Ensuring people and objects move in the same direction, with a few exceptions, is crucial to maintaining flow from scene to scene. “Crossing the line,” or changing direction, can be prevented by keeping track of the “axis of action,” an imaginary line on screen that determines the direction people face when viewed through the camera. 

Why is the axis of action so important? For starters, crossing the line disrupts continuity and causes confusion. But it’s also usually avoidable, and can be accounted for during filming or in post-production. While shooting, directors can help by staying on one side of the imaginary line or even pausing on the line to provide context. During post-production, editors can break up opposing viewpoints with a neutral shot. The POV shot, or view from the subject’s point of view, provides a great neutral shot because there’s no direction. Providing ample reference and using screen direction to your advantage are other ways to avoid crossing the line. As Schroeppel explains, “nothing exists for your viewers except what you show them.” Filmmakers have the power to make each sequence work for them and tell a better story.

With this knowledge in hand, I began to look for relevant “how-to” videos on YouTube.

Research to Inform

How Aaron Draplin Writes Client Emails
This video, about writing professional emails, is by famous graphic designer, Aaron Draplin. The sequence begins with a wide establishing shot that situates Draplin in his workspace, grounding the viewer before moving closer. Medium shots follow, capturing his quirky gestures and expressions, which connect seamlessly to the wide shot and keep the audience oriented.

Close-ups of his computer screen and email examples cut on the action, ensuring that the viewer follows his process without disruption. Cutaway shots to tools like Grammarly and Dropbox provide visual variety while preserving the rhythm of the sequence. By respecting screen direction and repeating small actions across shots, the editor avoids jump cuts and maintains continuity through multiple angles.

How To Sign and Number Prints.
This quirky tutorial, by Hoodzpah Design, begins with a wide wide shot of Amy, the apparent instructor, and her materials. The establishing shot gives viewers a clear sense of place before the action starts. Medium shots then capture the instructor’s hands and tools in action, so the audience can follow along without missing a step. A POV shot of the screen is used to cover up one instance of “crossing the line.” Other close ups are used to emphasize key details, such as signature location. Cutaway shots of Amy signing posters adds variety and maintains rhythm while avoiding jump cuts. Despite some mistakes, the sequence flows nicely across different angles, and results in a funny how‑to video that’s quick and easy.

https://youtu.be/NMj8mLeUdsM?si=PNkphQxZCLvtJknP

My Hand Lettering Process: All my secrets!
While most of the video in this tutorial is a medium shot of the narrator, illustrator Chris Piascik does use some interesting techniques to make a successful sequence. Like the other “how to videos,” Chris starts with an stablishing shot at his workspace. However, he also incorporates some animated artwork that provides further context about what he does — lettering. An overhead shot captures the narrators screen in action. His narration is told through an inset photo of him speaking, something we are used to on YouTube and Zoom. He also uses cutaway shots of him sitting on his couch. These shots help to break up the main illustration scenes. I would probably recommend using this technique more, rather than the random jump cuts, like at 5:45. By cutting on the action, or changing camera angle or position, the video would result in a more successful sequence and, therefore, a better tutorial about hand lettering. 

Create

Since I’ve already tried the audio-first approach to video editing, I wanted to see if shooting the same scene three times would work better. It turned out to be trickier than anticipated. First, being in front of the lens is a much different experience than recording on a microphone. Time and again, I kept fumbling my lines. Working with multiple audio tracks also takes a lot more time to edit, I found. 

When I finally did get through the scripted lines, I encountered another challenge — reviewing all the footage. It was a bit of a nightmare, and I couldn’t remember exactly which takes were the good ones. Note to self: keep a better log in the future. And this was just for the wide shot. I still had to reset the lighting for the medium shots and the closeups. Luckily, I was able to read directly from the script for these takes. Most of the audio came from the wide shot anyway.

In the end, I can see why so many social media influencers shoot their how-to videos from one angle — It makes their job much easier. They can record the wide shot and their screen at the same time, helping to limit the number of takes and streamline the editing process. Still, if there’s anything that author Tom Schroeppel has taught me to date, it’s that the viewer doesn’t care how you get the video. What they see on screen is all that matters. I’m hoping my how-to video will help somebody create their own custom hand-drawn pattern one day in the future. Watch my how-to video here: