Movie Makers (Jan-Dec 1931)

592 NOVEMBER 1931 To fade or not to fade ARTHUR L GALE An analysis of the proper use of this and other "effects" THERE are several methods of beginning and terminating motion picture scenes besides the simple "cut." If the amateur movie maker's equipment is adapted for it. he may fade in or out on a scene, iris in or out or dissolve from one scene to another. But, in telling a story with a motion picture camera, each of these devices serves particular purposes and should not be indiscriminately used. To employ them excessively or to use any of them where they will not advance the story or strengthen it is less desirable than to make no use of them, for almost any story or subject may be told in movies with cutting and proper sequencing only. However, there is no doubt that, used in the proper place, these devices enhance the smoothness of a motion picture and its general effectiveness, be that effectiveness the selling of a product, entertaining family and friends or, even, presenting a straightforward record of people and events. Of the three devices, perhaps the fade is most generally useful to amateurs because of its comparative simplicity and because almost any movie maker can closely approximate the effect by the use of a fading glass. In dramatic filming, the fade is chiefly useful as an indication of lapse of time. For example, if it is desired to indicate the passage of ten years, a slow fade out on the last scene of the earlier period, coupled with a fade in on the scene supposed to take place ten years later, will convey an impression of the lapse of time as forcefully as any method. The fade is equally useful for shorter lapses of time. Another general use of the fade is to indicate a story within a story. Fading out on a closeup of speaker's face and fading in on a scene representing the story he is telling is much more certain of getting the shift of the action across than is cutting from one scene to another. The fade Harmony in iris "effect" and composition of subject is shown here R. I. N'esmith out and in assures the audience that the following scene represents the speaker's narrative. Similarly, the fade is effective in indicating visions or memories. Fading out on a scene of a man dozing in front of the fire and fading in on the memories of his hunting trip or some similar train of thought exemplifies a use of the fade that applies to general amateur subjects as well as photoplays. In dramatic pictures, the fade is also effective in presenting the thought processes or reactions within a character's mind, although it is not as efficient in this respect as is the dissolve. Lacking the dissolve, it is the next best method. In any type of amateur film, fade outs may be used to indicate the end of a sequence. Likewise, they may be used to open a new sequence or train of thought. Employment of the fade for these purposes should be carefully scrutinized, for, in many instances, fading at the opening or end of a sequence may give a choppy effect, damaging the continuity of the picture as a whole. This is caused by the fade's tendency to produce a feeling of disassociation arising from the lapse of time or shift of subject it always implies. Hence, fading in and out between a series of sequences of very similar subjects would needlessly cut the film into a series of segments. On the other hand, if the sequences are long and deal with different types of subjects, the fade may add smoothness. In such cases, probably the fade out and fade in would be separated by a title. Of course, it is always safe to fade in at the beginning of a picture and to fade out at the end. The latter is more desirable but, certainly, neither should be done invariably. Never fade slowly out or in on subtitles. The iris is largely an ornamental device sharing something of the same properties as the fade. It will indicate a time lapse, a story within a story and a change of subject, although not as effectively as the fade. It is not useful in presenting visions or thought processes. The iris has a special advantage for, since it narrows down the field, it may be used to emphasize some particular subject or property within the scene. [Continued on page 620]