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264 RUDY BRETZ March
black" in television, because of the electronic means of effecting it with the dissolve control. It has a connotation of finality; it indicates an end to something. It may be used in place of a dissolve to link sequences together, where there is a greater change in time or place than is usually indicated by a dissolve. A dissolve retains continuity; a fade-out-fade-in breaks the sequence. It is not good, for instance, to fade in and fade out a series of titles, since the audience will think with each fade-out that they have seen the last of the series. Similarly, a play divided into a number of short scenes with fades between, will lack the unity it might have had if other devices were used.
The most dangerous aspect of using fade-outs in television is that the length of blank screen between fade-out and fade-in may be too long. Audience interest drops very rapidly when there is nothing on the screen. There may be exceptions to this rule : certainly when sound or music carries through, the wait is not so bad. However, the timing of the fade-out, the blank screen, and the fade-in should always be carefully planned and rehearsed. The shortest possible blank screen is particularly important when the fade-out comes at the end of a program or spot announcement. Every second's delay in bringing up the next picture means an increasing loss of audience. Dial turning on television is a much greater problem than radio ever had to contend with. Directors and technical directors have sometimes failed to look past the conclusion of one program and plan the initiation of the next. They wait until the final fade-out, heave a big sigh and then start hunting frantically through their schedule and routine sheets for the next move, while the screen remains patiently blank. This problem became so acute during the early months of operation at WPIX that we had to enforce a rule against any fade-outs at all. All transitions were to be made by dissolves.
There are ways of doing fade-outs in a program other than by simply turning down the gain, or dissolving to black. Fade-outs can be done with the lights on stage: the old familiar black-out. This is easier if the number happens to be lighted by one spot light, which is all that needs to be cut. The light can be moved off the subject, or the subject can move out of the beam of the light. If the motivation is very carefully planned, the camera can be panned off into a dark area, or dollied behind a dark object. This device was used by Olivier in "Hamlet." Another variation on this is to have an actor walk directly into the camera until he blocks out all the light. Which