Mastodawn

This is what shots 10, 11 and 12 are for. Specifically shot 11, which is the glue of the transition. I knew I could run up to the camera in shot 10, which was originally planned to have the continuation of me speaking in it. But I could cut to shot 11. Where I could put shot 10 on the background, on a monitor. Therefor creating a smooth transition. I had to frame shot 11 such that we would see both the monitor ( representing the previous scene ) and the microphone ( representing the next scene ). I would pick up the microphone and that would prompt a cut to shot 12, which would be the composition I would use for the rest of the pitch.

Or you can be like this guy: https://inv.nadeko.net/watch?v=rPt5ZfGGjuI

Part X: Developing a Way to do Action Scenes Without Money | Example Scene