180-degree rule: The second of Phil and Ned's encounters on the side walk is a tracking shot that dolly's backwards as they both walk forward in same direction of the camera. The line of action is between Phil and Ned and their dialogue and interactions, and the camera and editing keep this line of action.
Eye line match: Phil and Rita are seated at a dinner table in a nice restaurant. The master shot cuts to eye line shots when Bill begins to recite French Poetry. The interest is more evident in her face and expressions are brought out more fully when seen on their individual faces.
Shot/reverse shot series: Phil and Ned's first encounter has noticeably longer dialogue between the two and in this scene as Ned greets Phil the camera cuts to a series of shot/reverse shots where we view the two over the other's shoulder. Ned's quirky excitement and Phil's annoyance are more visible than with the master shot of them two.
Establishing shot: Shot of the Bed and Breakfast in which Phil is staying. We don't see Phil within the frame but the audience is to assume that he is inside.
Match on Action: Phil and Rita are dancing in a Gazebo at night. The first shot is from a distance and the audience is only able to pick up on their garrulous movements. There is a cut to a closer shot but no time is lost between the two, only in the second shot the audience is able to make out details more easily and pick up facial expressions.
Part II.
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Harold Ramis chose the match on action option to better capture the emotion of the situation. The Gazebo scene is one of the more intimate and romantic moments in the picture and an important emotional moment to establish. The series of shots come closer and closer on Phil and Rita to better capture the intimacy shared by the two in the moment. Their facial expressions are as important as the setting and action, the distanced shot sets the scene with a shot of the Gazebo, but the cuts to closer shot leave the setting out and focusing more on their faces.