Through Object In

The camera crosses a barrier that should have stopped it. A wall, a window, a keyhole, and the shot carries on into the room beyond without a cut.

Because no camera can do it, the move reads as knowledge rather than travel. The audience is being taken somewhere they were not allowed to go, and the surface it passes through is the thing that made it forbidden.

On a set this is two shots joined invisibly, or a computer-generated move built to match plates on either side. A generative model builds it in one piece, which is why it is cheap here and expensive everywhere else.

The prompt needs both ends. Name the object the camera goes through and name the space behind it, because the model has to invent a room that was never in frame.

The surface has to behave. Say whether it parts, dissolves, or the camera simply passes it, and say the move never stops. A pause at the surface turns the shot into two shots.

Use it to enter a private space, to connect two rooms that a cut would separate, and to open a film with a statement that the camera is not bound by the set.

Skip it in a scene built on realism. The move announces itself, and one impossible camera undoes a lot of careful work.

A pass through goes through a gap that is already open: a doorway, a railing, a window with nothing in it. Nothing has to give way.

A through object in crosses something solid. If the camera would have hit the thing, it is a through object move. If it would have missed, it is a pass through.

David Fincher runs the camera through a coffee pot handle, a keyhole and the floors of the house in the opening of Panic Room (2002). Every one of those passes is built, and the point of them is that the camera knows the building better than the people in it do.

The move stops at the surface and the shot ends there, because the model treats the object as a wall. Say the camera continues into the space beyond and name what is in it.

The second failure is a cut disguised as a move. Ask for one unbroken take and say the surface parts around the lens, so the model builds the crossing rather than jumping it.