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366 APPENDIX story and not merely a sketch of the accompanying action (LVIII-24). TINTING—Staining the emulsion on the film by immersing it in a bath of dye to obtain a dominant color, such as blue for moon- light (XL-6). TITLE—The identifying name given a play (XXVII). TONING—A chemical reaction brought about in the film through the use of baths whereby the color of the silver deposit is altered (XL-6). TOPICAL—A motion picture relating to some news happening. TRICK—A manipulation of the camera or lighting system to produce unusual effects (XL). To prepare an article to obtain some surprising effect as to trick a chair to breakaway (XL-10). TURN—To operate or turn the crank handle that actuates the mech- anism of the motion camera (XL-11). UP-STAGE—The rear of the stage. To go up-stage is to go to the rear of the stage. VIGNETTE—A frame placed between the lens and the subject for the purpose of softening the edges of the picture through inter- cepting a part of the light rays. In photoplays this is usually some form of iris diaphragm, which see (XL-20). A picture produced by this device, varying from a picture in full frame but with the corners cut to a small picture in the centre of the frame. VILLAIN—See ANTAGONIST. VISION—Some scene or part of scene supposed to show the thought of the moment, some revelation of the past or dream of the future. , Straight —A small scene occupying a portion of a larger scene (XLI-3). Fade —A vision scene occupying the entire frame connected with its proper scene by means of a fade or dissolve (XLI-6). THE UNASKED QUESTION ALTHOUGH nothing presented in this chapter has not already been covered, it is believed that these definite replies to ques- tions will be more convenient to the student than the mere presentation of facts. The questions are those that have been most frequently repeated in the thousands of questions answered by the writer in the past five years. How many iyiterior sets can I use to the reel? Supposedly as many as you will need, but it is not advisable to call for the erection of too many sets. Roughly that story stands the best chance of acceptance which does not require more than six sets to the reel, but this is merely rule of thumb. How many interior scenes can I use? This depends very largely on the story. Some stories may be played wholly in interior scenes, but it has been found that a story with a fair mixture of interior and exterior scenes will look the best on the screen.