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THE FILMIC COMPONENTS 111
link. This device is the result of having the camera operator jerk his camera around violently from one action to another, so that the connecting link between the action appears on the screen as a blurred flash. It will be necessary, in order to produce this linkage, to flash-pan into the succeeding scene so that, when the two shots are put together, it will appear as though the camera zips from one object in sharp focus to another object also in sharp focus.
Transition flash pan. The flash pan can also be used as a transitional device to connect two shots of actions which are simultaneous in time, but geographically separated. The effect is achieved by flash-panning away from the first shot, flash-panning into the succeeding shot, and then linking together the two flash pans optically, so that the effect is of a flash pan from one shot into another. This device should be used infrequently in any one film. And it should be used only to indicate simultaneity, to take the place of a direct cut, which indicates continuity of action in time.
The flash pan can also be used as a connecting device for dramatic contrast. In the documentary The City, the camera held on a long shot of an old city, then flash-panned across the river to hold on a long shot of a new city. A direct cut here would not have been so effective in pointing up the contrast.
Avoid reverse pan. A final injunction about the use of the pan: avoid reversing the pan too often in the same shot. A single pan works enough strain on the audience's eyes without having them jerked to and fro to cover the same territory. The result is a choppiness that destroys the smooth flow of continuity.
The reverse pan should be used only at certain times, and then quite cautiously. If it is absolutely essential that two separate actions in the same vicinity be tied together to indicate simultaneity, contrast, or revelation, the camera can pan from one action to the other and then flash-pan back to the first action again for a revelatory reaction. It can also be used in fight scenes, or in any scenes of violent action in which the contestants shuttle from side to side. In such cases the jerky effect is permissible because it suggests the seesawing results of the fight and matches the filmic tempo with the story tempo.
Although a good director will do it automatically, it is advisable