" In this scene, the girl runs outside from her room (frame one), to the main room, (frame two), to the immediate outside of the house (frame three), to the Indians in the brush about to eat the puppies (frame four), the girl scurrying around then seeing the Indians with the puppies about to gut one (frame five) all in one sequence, tying all these locations into one plausible geographic location. The man sees the girl is gone and runs outside via the same rhythm or sequence of frames (frames 1,2,3,4,5). The man shoots backward into the brush (frame five), the girl runs forward past the man shooting into this new frame, and the Indian falls. This simply, but masterfully encapsulates what Griffith is praised for pioneering. Though the viewer does not see the man and Indians in the same frame, he or she understands that geographically all the action and every player are indeed correlated very closely. Next, the men that are in the house hear the gunshots and are roused, exit the frame through the door from left to right. In the next frame they continue this motion in the frame from left to right out exit again. Thus Griffith ties 4 or 5 different locations in the same amount of different frames into one justified set of actions that easily makes sense to the viewer subconsciously, but complexly. .
Griffith's idea that one could shoot one scene in multiple different frames, at varying angles, and at different subject camera depths and make it visually believable for the viewer is made plausible. His contemporaries, for the most part, were used to setting up a camera in one position and having the actors play out the scene for minutes at a time without switching camera angles far away from the camera. In reality, what Griffith has done in this film amongst his other works, is probably the most revolutionary concept to film at the time. To use a lesser subject camera depth and to have hundreds upon hundreds of individual shot changes was a challenge, but proved to set the standard for films in years to come.