Regardless, filmmaking technology evolved with the Lumiere Brothers' Cinématographe which freed filmmakers from the confines of the studio and allowed for on location shooting (Thompson & Bordwell 8-9). .
This, however, did not lead to better films, but only augmented the possibilities for future films such as "Workers Leaving the Lumière Factory" (Lumiere 1895) and "Arrival of a Train "(Lumiere 1896), the production of which would have been impossible within a studio. With this advancement, the global toolset of filmmakers grew; from Edison and Dickson, filmmakers got the option to shoot in a light controlled studio and from the Lumiere brothers the ability to shoot on location. Neither of these options is universally better, but only particularly more suited to a given production and would, in themselves, evolve over time.
Single shot display films eventually gave way to films such as George Melies' "Trip to the Moon" (1902), composed of several single shot scenes, and later films like Cecil B. DeMille's "The Cheat" (1915), which employed analytical editing, using multiple shots from varied distances in the same scene to show detail and emotion (Thompson & Bordwell). The continuation of this technological editing evolution is most evident in the Constructivist-influenced, state-sponsored Soviet montage movement of the 1920s. According to Thompson and Bordwell, Montage films "have a greater number of shots than does any other type of filmmaking of their era [and] frequently broke individual actions down into two or more shots" (117). However, the more complex editing techniques were not, in themselves, what drove the quality of montage films, but instead the "more specific strategies of editing, involving temporal, spatial, and graphic tensions" (Thompson & Bordwell 117). Thompson and Bordwell write that Montage filmmaker Dziga Vertov, for instance, "emphasized that the filmmaker should calculate the differences between shots – light versus dark, slow motion versus fast motion, and so on.