{"schema":"record/v1","id":"art_01M5MYYV7FEBKC1T36E0CF7HP2","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What are the 'apparition' and stop-camera effects in Sargent's Ch. XLII, when does he choose a dissolved apparition over a straight stop-camera one, and how does the writer script them?","summary":"1916 practice (Sargent, Ch. XLII): an apparition is the sudden or gradual appearance of a person or object in a scene, made by stopping the camera, with or without a dissolve. For a thought of a person (Tom thinking of Mary) the figure is dissolved in and out; for a shock (Bess haunting Ben) a plain stop is used; objects may be dissolved in to remind rather than startle. The instruction to the writer is to state what happens in the scene and to name no technique; the director and camera operator supply it. He admits the Ben scene is troublesome and that every stop means a patched film. Examples are invented scripts.","status":"active","body":{"text":"1916 practice (Sargent, Ch. XLII): an apparition is the sudden or gradual appearance of a person or object in a scene, made by stopping the camera, with or without a dissolve. For a thought of a person (Tom thinking of Mary) the figure is dissolved in and out; for a shock (Bess haunting Ben) a plain stop is used; objects may be dissolved in to remind rather than startle. The instruction to the writer is to state what happens in the scene and to name no technique; the director and camera operator supply it. He admits the Ben scene is troublesome and that every stop means a patched film. Examples are invented scripts.\n\nCurator qualifications: Visions (frame vs fade), fades, dissolves and apparitions are verified as Sargent's text. -05 is labelled practice plus proposal.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","note":"sar.flat (a3cff7eb) offsets per candidate"}]},"categories":["T01","T10","T11"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"1916 practice (Sargent, Ch. XLII): an apparition is the sudden or gradual appearance of a person or object in a scene, made by stopping the camera, with or without a dissolve. For a thought of a person (Tom thinking of Mary) the figure is dissolved in and out; for a shock (Bess haunting Ben) a plain stop is used; objects may be dissolved in to remind rather than startle. The instruction to the writer is to state what happens in the scene and to name no technique; the director and camera operator supply it. He admits the Ben scene is troublesome and that every stop means a patched film. 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XLII): an apparition is the sudden or gradual appearance of a person or object in a scene, made by stopping the camera, with or without a dissolve. For a thought of a person (Tom thinking of Mary) the figure is dissolved in and out; for a shock (Bess haunting Ben) a plain stop is used; objects may be dissolved in to remind rather than startle. The instruction to the writer is to state what happens in the scene and to name no technique; the director and camera operator supply it. He admits the Ben scene is troublesome and that every stop means a patched film. Examples are invented scripts.\n\nCurator qualifications: Visions (frame vs fade), fades, dissolves and apparitions are verified as Sargent's text. -05 is labelled practice plus proposal.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","note":"sar.flat (a3cff7eb) offsets per candidate"}]},"tags":[],"type":"article","links":[],"title":"What are the 'apparition' and stop-camera effects in Sargent's Ch. XLII, when does he choose a dissolved apparition over a straight stop-camera one, and how does the writer script them?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"1916 practice (Sargent, Ch. XLII): an apparition is the sudden or gradual appearance of a person or object in a scene, made by stopping the camera, with or without a dissolve. For a thought of a person (Tom thinking of Mary) the figure is dissolved in and out; for a shock (Bess haunting Ben) a plain stop is used; objects may be dissolved in to remind rather than startle. The instruction to the writer is to state what happens in the scene and to name no technique; the director and camera operator supply it. He admits the Ben scene is troublesome and that every stop means a patched film. 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