. Filmmaking Connecting Shots Various ways to fit your shots together Avoid noticeable disruption in your shot flow In any shot sequence, the filmmaker will need to create a “cause and effect” relationship between shots. This can be done in many ways but as the shots progress, they must communicate the story to the viewers. For example, imagine the cause and effect relationship of the following shots. • In the first shot, we have a wide shot of a house • In the second shot, we are in a house at a table with two people sitting around • An over the shoulder shot shows the man speaking to the women • An over the shoulder shot shows the woman’s reaction to something the man just said • The woman falls to the floor Without even knowing it you made certain temporal connections in your brain. Although this scene follows the continuity style, it is not shot in real time or necessarily even in the same location. However, we use different types of connections to piece everything together. Different types of connections Here are three of the most basic connections found in the making of films and documentaries. Temporal connection If you see a close-up of a foot on a gas peddle in one shot and a speeding car in the second shot, you will assume there is a connection between the two. Logical connection In the previous example, we suggested a shot sequence that started with a wide shot of a house before an interior shot of a house. Due to movie precedence, film audiences usually piece these two shots together to mean that the second indoor shot took place in the interior of the previous outdoor shot. However, the interior of the house and the exterior of the house could have been filmed at two completely different locations. As viewers we use logical connections to help us see space. Spatial connections Spatial connections show the audience a relationship between two different aspects of the same thing. For example, if you were to shoot an exterior of a house as shot A and then a particular detail on the hand railing of the porch as shot B this would be a special connection. Continue Below... Re-Establishing Shot Bridging Shots Without a Pivot Shot Manipulating Cinematic Geography Exploring Temporal Connections Lev Kuleshov Experiment Constructing Scenes Using Q and A without Dialogue How Much to Feed Your Audience More About Q and A and Cause and Effect Cutting in the Camera Vs. Open Approach       .

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