We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
CHAPTER XLII 209 the last chapter, he will, at the end of the scene, call for a fade. The players continue their action, but the camera operator closes his dia- phragm to nothing. Although this is rather generous, it will be easier to argue that the fade will run fifty frames. The first frame will re- ceive one hundred per cent illumination, the second ninety-eight, the third ninety-six and so until the fiftieth frame is not acted upon by the light at all. Each frame has lost two per cent of the illumina- tion, a gradual and even change that does not shock the spectat6r. It is precisely as though you turned down the gas in a little more than three seconds. This is the straight fade-down. The fade-up is the reverse. The action starts with the lens closed and the diaphragm is gradually opened until the full illumination is reached, when the real scene action starts. 4. But suppose that, having faded down a scene in three feet, the cameraman reverses the movement and takes the three feet of iili'n back into the top box. Now he fades up the next scene on this same film. It has been shown that the first frame has been illuminated one hundred per cent in the first scene. It now receives no illumination from the second scene. But the second frame is now also one hun- dred per cent exposed, being acted upon by ninety-eight per cent of light from the first scene and two per cent of light from the second. The next frame is fully illuminated in the proportions of ninety-six to four and so until the forty-ninth frame shows ninety-eight per cent of the coming scene and but two per cent of the old. In the fiftieth frame the light comes wholly from the new scene. One picture has been dissolved into the other, the replacement being so gradual that at first it is scarcely realized. 5. The dissolve is two fades superimposed on the film. The fade is reduction from light to blackness or growth from blackness to light. The fade is made without reference to the succeeding scene. The dissolve must be made on the same piece of film before it is removed from the camera. As a matter of fact, through double printing, the straight fade may be worked into a dissolve by passing the film through the printing machines, but dissolves by printing require more care and the result is seldom as satisfactory. 6. Where a dissolve is desired and you have reason to hope or be- lieve that the extra work will be undertaken for the sake of the in- creased effect, you slightly aher the scene terminals. You do not tell the director to fade down or up but ask that he dissolve to the next scene, writing the script in this manner: 42. Attic —Nettie and Grandma on—looking over an old trunk— Nettie picks up an old dress—starts to try it on by holding be- fore her—with a cry Grandma starts up and almost snatches it from her—Nettie startled and hurt—Grandma sees—draws Net- tie to her—starts to speak— dissolve to — 42. Church —Crowd in old fashioned costumes—Grandma, as a young girl, wearing the dress shown above, is standing at the rail with Grandpa—benediction is pronounced—they turn from the rail—friends crowd about them with good wishes— dissolve to