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Old 08-19-2017, 10:13 PM   #16
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Speaking of transitions, that is the other way to start scenes, by connecting them to the previous scene in a clever or funny way. You would have to see alot of David Lean films because he was the master at this and also Steven Spielberg, who is influenced by Lean. But, I'll use neither of those filmmakers as an example; A scene in Hitchcock's The 39 Steps, a maid comes into an apartment and finds a dead woman. We see the maid open her mouth and scream in terror, but instead of hearing her actual scream, we hear a high-pitched train whistle, then cut to the next scene, which has a train blowing the whistle. It happens so fast, but it plays with the mind.

Cinemachick, I'm not sure if you can do this, since you're now in post-production, but it's very stimulating and fun to try and think of your own. Many viewers will read into them as meaningful symbolism, but you don't need a meaning, it's just an interesting transition.

P.S. A funny example: A Christmas Story (1983): A toilet seat is about to be lifted. Cut to the lid being lifted on a boiling pot on a stove.
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Old 08-19-2017, 10:26 PM   #17
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Speaking of transitions,...
Nice transition into transitions.
Great examples.
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Old 08-20-2017, 04:08 PM   #18
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Film is a language. Language has to make sense to be understandable.
If a movie makes sense without establishment shots everything is fine.
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Old 08-20-2017, 04:27 PM   #19
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Well put.
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Old 08-21-2017, 02:52 AM   #20
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I echo everything directorik says (as usual).

There's so much information online that it can sometimes stifle your own creative intuition if you let it.

Scenes don't have to have a wife or a master or an 'establishing shot'. Indeed, anything that 'establishes' could be an establishing shot. A close-up of an old 80s TV followed by a reverse of elderly people in wheelchairs watching it establishes we're in a retirement home without needing a shot of the exterior of the building, or a wide of everyone gathered around the TV from behind.
A close-up in a side mirror of a car of a man creepily watching something establishes there's a man in a car watching something without needing a wife of the outside of the car, close-up of the man etc. and can be much more visually interesting.

What do we need to establish and how can we do that?

There are also times when not establishing a scene can work well with the story

Use your creative intuition and see what you think works.
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