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1950 TELEVISION CUTTING 265
ever of these devices is used to effect the fade, it is usually good to use the same thing in reverse for the fade-in of the following scene.
An unusual use of the fade-out-fade-in was developed by Bert Gold at WICU when that station had only one studio camera. In order to change lenses, or to go from one stage to the next, the picture had to be quickly faded, the change made, and the picture faded in again. This procedure called for close co-ordination with the cameraman, but was a good adaptation to the situation. Ideally, assuming complete freedom of camera movement and an expert cameraman, it should be possible to cover everything with one lens (say a 90-mm) and keep the camera on continuously. The need to fade the camera out and avoid showing lens changes or portions of the studio beyond the actual sets is an inheritance from the production techniques of other media. In television we don't have to shun the backstage view, except when illusion and mood would be broken. The more reality, the more immediacy, the better the television in most cases.
Other Transitional Devices
1. The white fade. To the best of my knowledge this was first tried by Carl Beier and Bernie Brink at CBS-TV in 1941. It consists in fading out to white instead of to black. Naturally when it was first discovered, everyone went white-fade-happy; and for a while it was used more than anything else, at least by the directors at CBS. NBC and Dumont, who were also on the air at that time, did not seem to think it was that good.
Since the screen was constantly alight, it had less of a feeling of finality about it than a fade to black. The first time one saw it, however, one tended to feel that something had gone wrong and washed out the picture. We found good use for it between a series of titles (black letters on a white ground) so that only one camera and easel were necessary. It was a "fade white, pull the card, fade back in" routine. I haven't seen it used in recent years.
2. The de-focus transition. This requires a little co-ordination with the cameraman. Ready the next camera you are going to use by having the cameraman put it out of focus. Then at the right moment, crank the first camera out of focus, cut or dissolve, and bring the second picture up sharp. It requires a series of cues such as this, "Ready Two out-of-focus. One, de-focus. Dissolve to Two. Into focus. Two." It is assumed that the cameraman on camera One will