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146 A PRACTICAL MANUAL OF SCREEN PLAYWRITING
dissolve from a close shot to a close-up. For example, if it is necessary to dissolve through from a chocolate bar in the hands of a person in one locale to a chocolate bar in the hands of the same person, or another person, in a different locale, the first shot can be a close shot of the person eating the chocolate bar, dissolved into a closeup of the chocolate bar in the succeeding shot with the camera pulling back to a close shot or a medium shot to reveal the new locale. In this way you would be taking advantage of the natural flow from the close shot to the close-up, thus creating an undercurrent of movement in the dissolve.
The term "match dissolve" is given to another type of dissolve transition. This kind adheres strictly to the literal meaning of the phrase in that it consists of dissolving through from one subject to its exact counterpart in another shot. This requires that both subjects be exactly the same in image size and angle and be in exactly the same position in the frame. For the purpose is to establish some sort of paralleling comparison between the two subjects as, for example, dissolving through from a close-up of a rich child to a poor slum kid, or from a tramp to the same man dressed in soupand-fish. The dissolve serves as a connecting and transitional element.
Sign-insert transitions. Another visual transition device is almost as old as motion pictures— the sign insert. This is especially useful when the locale of the second half of the dissolve is an institution. Hospitals, laboratories, factories, office buildings, hotels, inns, townlimit boundaries, store fronts, numbered houses— these and hundreds of other similar locales can all furnish the material for a sign transition. They are especially useful in a time-lapse sequence when a character is supposed to be shown making the rounds of advertising offices, for example, in search of a job. Here the entire search can be covered simply by using a dissolve sequence of firm names on office doors, lobby directories, name plates, and so on. The creative screen-play writer could suggest, for example, showing the firm names on stationery or in other likely places.
Stock-shot transition. Still another means of obtaining a visual transition, one that is also almost as old as motion-picture making, is the "stock shot" scenic view used as a symbol. Paris' Eiffel Tower,