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on a detail, it is important that the whole setting should be shown at some stage.
Taking this principle a little further down the scale, we see that, if a big close-up is used, it should be preceded by an image which shows the detail in its setting : i.e., by a shot in which the same object is seen from farther away.
In the same way, if there is a new development of some sort in the scene, which alters the situation shown in the establishing shot, then the scene must be re-established. If a new character walks into a room it is essential to show him coming in and placing himself relative to the other characters before any close shot can be introduced. The whole of the sequence from The Passionate Friends (p. 90) provides an instructive example in this respect. Just preceding the extract quoted we have seen Howard and Steven talking to each other, and the scene was played in a series of close shots. As Mary enters, the whole scene is re-established. Shot 1 quite clearly shows Mary entering and takes her to a definite position in the room. After this, when the close shots come on the screen, we know exactly where each character is positioned. Each time one of the actors begins to move, the camera goes a little farther back to show his movement. Again, towards the end of the passage, when Howard begins to talk to Steven, we start with a shot which re-establishes the situation so that the new grouping of the actors is clearly explained.
Matching Tone
While the cameraman is shooting the film, he takes care to maintain a constant photographic quality throughout the whole of his work. When the editor comes to cut the material he must guard against joining two shots in which the key of the lighting is noticeably different. The sheer physical difference in the light and shade values of the two shots will draw the spectator's attention to the transition and result in a harsh cut.
With the cameraman constantly in control of the lighting and the grading of the prints, this problem of matching shots according to their tone is generally not great. In a documentary or compilation film, where the material has often been shot by several cameramen working separately, it becomes much more acute. Equally, the editing of colour films sometimes presents great difficulties in matching the colour values in adjacent shots. This is, however, primarily a problem for the art director, cameraman and colour expert and is in most cases outside the editor's control. 226