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THE FILMIC COMPONENTS 135
action or actions immediately following the action of the preceding shot; the dissolve as connecting two shots and indicating a lapse of a certain amount of time; and the fade-out and fade-in as indicating the lapsing of a still longer period of time. But the actual ingredients of the lapse were ignored.
How they are used. Present-day pictures, however, make full use of the potentialities of the time lapse. Quite often, as in matched time lapses, they have made too full use of it, and the technique has jutted out conspicuously, to the detriment of realism. The beginning screen-play writer, especially, succumbs to the innate brilliance of matched time lapses and overloads his script with them.
A time lapse is a filmic device which indicates pictorially a hiatus of seconds, minutes, hours, days, weeks, months, or years.
In the early days of movie making, they were achieved, photographically, in a number of different ways. All were optical effects, performed manually, in the camera first, and later, chemically, in photographic labs. Today most optical effects are created mechanically in machines especially designed for the purpose.
Dissolve time lapse. The dissolve, which is the basis of all pictorial time lapses, is a method of fading out the image at the tail end of a shot and then, about halfway between full image and complete fade-out, jading in the introductory frames of the succeeding shot, in reverse density from that of the frames in the previous shot. This results in a smooth transition of dark to medium of the last frames of the first shot, blended with medium to dark of the first frames of the succeeding shot.
Dissolves can vary in actual screen time. They can be slow, medium, or quick, depending on the pacing required by the mood or action, as determined by the writer and carried out by the film editor.
Wipe time lapse. Another technical method of achieving this effect is with the use of the wipe. The purpose of both methods, however, is the same— to indicate a lapse of time. When both were first introduced, motion-picture makers went overboard in their use and loaded pictures with dissolves and wipes. But a leveling-out process