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THE FILMIC COMPONENTS 141
at a place where there should have been intense suspense and excitement. To avoid this uncalled-for outburst, it would have been easy to plant the fact, either visually or verbally, that the fire station was close by. In that way, the audience would have been prepared for the hook and ladder's almost immediate entrance, and the undesignated time lapse would have been given a specific period of time.
Transitions
Time lapses constitute only one phase of the problem of motionpicture transitions, a problem which, by the way, concerns itself with the most vital of subjects— continuity.
Continuity with transitions. For one of the most important ingredients of continuity is transition. Without smooth transitions, there would be no continuity. Without adequate transitions there would be no forward flow of movement, no shot, scene, and sequence interlocking, no establishment of shot interrelationships, no pervasive sense of wholeness and completion, no balance and counterbalance between the individual components— in other words, there would be no motion picture.
This is so because of the peculiar nature of the motion picture, which is a compilation of hundreds of pieces of film, each varying from the other in many respects, spliced together so that the result, a motion picture, will depict a story with smooth-flowing, unified, coherent and dramatic continuity.
Shot-to-shot continuity. This continuity between individual shots can be brought about by the judicious use of camera distance and angle, lighting, sound, character action, mood, and dialogue.
From shot to shot, a sustained mood will serve as an efficient carry-over, for example. Matched lighting can serve the same purpose. A barred shadow from a Venetian blind can connect a long shot with a medium shot and a close-up, if the same barred shadow is seen on all three. A close-up of a person as he starts to get up from a chair can be cut in as the person reaches a halfway-up position,