17—­Library, same as 6.

Fenton continues to make love to Beverly, presently ending what he is saying with an impassioned plea to fly with him at once.  For just a moment she seems on the point of yielding; then she starts back and shows that she is thinking of what it would mean. (Fade out into—­)

18—­Bedroom, same as 8.

     Dean, lying in bed, wakes up and calls out, as if calling to
     his wife.  Then he falls back again on the pillow, exhausted. 
     (Fade back to—­)

19—­Back to 17.

     Fenton reaches out to grasp Beverly’s hand, but she draws
     quickly back and urges him to stop pleading with her, at the
     same time crossing etc.

If you are using the “dissolve” or “interpose” (see definitions in Chapter III) you introduce the device in the same way as above; but bear in mind that the dissolve is somewhat harder to accomplish than the fade, and, again, while it merges one scene into another in an artistically beautiful manner, it is not so readily recognized by the spectator as an announcement, so to speak, of what is to follow.

The diaphragm (in or out), as the definition in Chapter III states, is used to indicate a lapse of time in the action of a story without using a leader.  Also, in scenes between which there is supposed to be only a very brief interval, but which nevertheless call for a definite break of thought, the diaphragm is resorted to.  Some directors will say “Circle out!” that being the effect on the screen—­the oblong picture changing to a circle, which gradually becomes smaller and smaller until the diaphragm of the camera is entirely closed and the film “goes black.”  The reverse of this, of course, is called “diaphragming in.”

As several critics have pointed out, the fade and the diaphragm should never be used to denote synchronized action.  Action occurring in two places at practically the same moment should be cut one into the other, for this is the primary function of the cut-back.  At no time should the diaphragm be used in this connection, either as a means of fading out or to reduce the field, for this robs the action of any suggestion of immediate change.  Here the use of cutting back is imperative, and no other device should be substituted.

As has been indicated, photoplay terminology is, even yet, only in process of formation.  The terms given and defined in Chapter III are the terms in common daily use in the majority of studios, but there is no ancient precedent to compel any writer to adhere to any of these terms if he is in the habit of using others.  There is too great a disposition on the part of amateur writers to split hairs over the correct technical term.  A matter of far more importance is to turn out a good story.

14.  Camera Tricks and Special Effects