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THE PHOTOPLAY STAGE—ITS LIMITATIONS 199 flashed. If you have not the opportunity of becoming acquainted with the inside workings of some of the big studios, by all means pay special attention to the photo- plays that you see on the screen, studying them to deter- mine what special light effects are introduced into the scenes, and with what degree of success. Neither the pro- ducer nor the cameraman is infallible. Every effort is made, of course, to secure artistically perfect results; but that perfection is not always obtained is very evident to anyone who regularly watches the pictures on the screen. Many imagine that in a scene which becomes gradually lighted at the opening, or which fades slowly into dark- ness at the close, as frequently happens at the conclusion of a photoplay, the effect is obtained by a gradual raising or dimming of the studio lights. As a matter of fact, such effects are readily produced with a piece of glass, say about five by ten inches, and stained any dark color with a semi- transparent dye, the density of the color being carefully graduated, so that one end of the glass is entirely opaque, while the other remains almost unstained. For a "fade in" effect, where the change from total darkness to full light is shown, this glass is passed slowly before the lens of the camera, the opaque end being in front of the lens as the scene starts. For a scene which is slowly to "fade out" into darkness, the process is naturally reversed. If one or more scenes in your scenario would be really helped by the introduction of such an easily obtained effect, you simply write "Fade into church interior," if you wish such a scene to start so; if it is to end in the reverse way, write "Fade out."