Basic Training: Camera Magic (page 2)

Match Cuts

Match cuts are another way to convincingly condense time and space. To do this, you need two objects that are very similar such as two plates of food. In the first scene, you show the heroine sitting in front of the television, its audio blaring into the night, competing with the sounds of a dog barking and someone having an argument nearby. On her lap is a paper plate with a half-eaten sandwich and a pickle. Cut to a shot of just the plate. Record for three seconds and then pause the tape. Set up your next scene: It's a lavish dinner party. Cut to a shot of a shiny plate with a steak in place of the sandwich and asparagus spikes in place of the pickle. Shoot it for three seconds and then pause. Then record a long shot of our heroine in an evening gown, enjoying her meal in the festive atmosphere of a dinner party. You can also create this series of shots using a pan and zoom in, pause, change scenes, record, zoom and pan out. The director of the animated movie Shrek used this technique effectively throughout the film.

Natural Wipes

Wipes are another way to condense time and space. One interesting natural wipe uses a pan-to-still shot. To do this unique wipe, pan your camera with the subject until he passes behind a large object such as a wall, post or other object. Stop your pan when the subject disappears behind the object (i.e. the object is between the camera and the subject) and pause your camera. Set up your next shot, hit record and pan with your subject as he reappears from behind the obstruction wearing new clothes or looking like he's aged ten years.

You can also create a wipe using a large moving object as well. You can create a wipe-in by panning with your subject until they are totally obscured by a large object, such as a truck or bus moving in the opposite direction. When the subject is fully covered, pause tape, go to a later shot in the scene and the wipe effectively allows you to jump ahead in time and space. A wipe-out is exactly the opposite. For this shot, you begin with your subject hidden by the large moving object and then suddenly revealed. By combining these shots and using the same or similar objects, you can have your subject change location during the cut. The cut appears seamless if you carefully time the pause point and then record when the large object is in the same position and moving the same direction and speed.

Real Time Effects

You can also create real-time effects in camera. For example, continue following your subject as they move towards you and have them walk towards the camera until they fill the screen. Then, pause the tape and reverse the shot. Have them walk away from the camera and record as they leave the shot. This will only work if they do not slow as they approach the camera and they must walk away at the same pace they were going as when they came towards the camera. Again, music helps to give a sense of pacing.

You can also use swish pans to get into and out of a scene. To end a scene, record your last shot and suddenly pan quickly left, right, up or down, hitting pause at the fastest point of the pan. If done correctly, this gives a blurred effect to the last 2 seconds or less of the shot. To swish into a scene, start your swish, hit record and come to a halt where your scene is taking place. Be forewarned, an in-swish is a little harder to execute, and takes some practice, because you have to steady up the camcorder quite quickly following the swish.

Making Magic

As with every bit of camera magic, each of these techniques will take some practice and a great deal of planning. Storyboard your shots so that you know what you will need to prepare for and practice before you actually shoot your story. With a some good solid planning, knowledge of your equipment and a bit of practice, you should be able to perform camera magic that will turn your projects into magical moments, instead of just drab home movies. Perhaps better still, if you do it right, you won't even need to edit.

Dr. Robert G. Nulph is an Associate Professor of Communication Studies and an independent video producer/director.