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EDITING AND CONTINUITY 187 simple dissolve first, we find that all it consists of is the fading out of one scene while another fades in. The straight dissolve can be used like the cut in many cases. Of course, the transition is bound to be smoother even with a fast dissolve, since it takes at least one second and an average length of two to three seconds. The smooth- ness of the change is what makes it so attractive since highly ef- fective and emotional use can be made of it as well as excellent continuity combinations. Slow dissolves should not last over six seconds; that is very long. If many are used in the course of a film, much of the time is taken up by effects which do not advance the story and really only waste time. For flashbacks and thought sequences where the character sees himself doing something which comes into his mind as another person speaks, the dissolve is ex- cellent. For dance sequences where a graceful change is desired from one view to another it is very useful, provided care is taken in positioning the old and the new shots on the screen so that ridiculous effects are not obtained through the careless juxtaposi- tioning of the anatomies of the two images. The lap dissolve is used in a slightly similar way to the straight dissolve except that it is often chosen as a means of indicating thoughts. Everyone has seen movies in which the character thinks of someone or something, and an image of it appears over his head. The only point to watch is insurance of good contrast between the two scenes so that the difference will be very clear. It is called a lap because the two pictures appear to overlap and appear one above the other. A similar type of effect can be obtained from a wipe in which the new picture seems to push the old one off the screen. This is more difficult to produce and is not used very often except in trick or documentary films since its effect is somewhat distracting and is liable to draw attention away from the story. Matched dissolves have specific purpose in that they can be used to show a transformation occurring in an object or person without removing the camera, provided care is taken to see that the new object is in exactly the same position as the old one. If it is desired to show the difference in size and development of a child or flower, etc., a shot is taken of the object in the early stage