Carol Vernallis observed that the usual rules of continuity editing are broken in order to draw attention to what is on the screen. Most of the time the edits come much more frequently than in film and many stand out as disjuncture. The editing is also rhythmic and closely connected to the song, as well as being very obvious to further draw attention to what is on screen. In contrast to films, wipes and special effects are very common, as well as jump cuts. Lastly, a master shot/base track is frequently used as a way to give structure to the video, and the camera often moves in time with the music.
"Kate Nash - Pumpkin Soup" is a fitting example of Vernallis' theory. This is because this video does not follow the rules of continuity editing and the edits come very frequently. Many of the scenes also stand out as disjuncture, while the edits, such as the titles and song words projected onto bright images, are obvious edits used to grab the viewer's attention. There is also evidence of base track editing, as the video always returns to the artist and actor in the "Kiss me Kate Booth" every time the chorus is played.
"Jessie J - Who's Laughing Now" is an example of Carol Vernallis' theory, because although not as obvious as the first example, this video has frequent edits which go against the usual rules of continuity editing to draw attention to the action and narrative on screen. Special effects such as slow motion are used to also emphasise the narrative, and there is evidence of base track editing as the chorus and bridge continuously flashes back to Jessie J sitting in the school chair.
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