Dissolve to/from black — technical edit, not optical. Marks scene change or time jump without narrative point of view. Fade-out: ending; fade-in: opening.
Fade out / Fade in
The fade out and fade in are among the oldest editing techniques in film history — not because they are primitive, but because they fulfill a fundamental function that remains indispensable to this day. In contrast to a cut or an optical dissolve, here one works with a technical darkening: the image continuously gets darker until it is completely black (fade out), or brighter again from black (fade in). The process usually lasts 24 to 48 frames — depending on the rhythm of the story.
In practice, a fade out signals the definitive end of a sequence or a chapter. It acts like a narrative period — heavier, more final than a simple cut. When a scene fades out, the film tells the viewer: That's over. Done. The subsequent fade in then marks a new beginning, a temporal or spatial jump. These two movements, therefore, don't just frame a scene — they structure the story itself. On set, you work with the camera iris for this; in editing, you create it digitally using keyframes in the color corrector or with fade effects. With digital shooting, the fade out is often realized only in post-production because it is more efficient.
The emotional difference to a direct cut sequence is that fades out/in allow for time. They slow down the cognitive transition. That's why they are used sparingly — too frequent use makes the film seem slow, theatrical, and antiquated. In contrast, the quick cut achieves the opposite. Long fades out (2–3 seconds) work well for epilogues or film endings; short ones (under one second) for chapter changes within a story. You often see this technique in montage sequences to breathe between multiple time jumps without breaking the rhythm — as with time-lapse or montage in general (other editing forms).
A practical tip: Fade outs and fade ins should rarely be in color. Black works; white is an exception (mostly for artistic effects). The duration must match the music, if present — don't work against it. And: A film with too many fade outs seems inhibited. Use them as exclamation points, not as commas.