Chase Scene

A chase scene is a dynamic event that requires a lot of motion shots to capture the action. In this example I'll be outlining two aesthetics that create both tension and panic from the audience.

THE SCENE                                                                    

A woman runs frantically down a narrow corridor. As she reaches a cell door she looks back to see her assailant advancing toward her. She fumbles at the lock in a state of panic as the he pulls his gun and fires upon her!

EXECUTION - SET-UP 1   

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The camera is handheld throughout set-up 1. The DOP begins facing the victim's back as she prepares to run. On action both the camera operator and the woman race up the corridor. The handheld motion causes the camera to shake up and down, imitating the frantic movement of the woman. 

EXECUTION - SET-UP 2 

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The dolly is positioned on a track down the center of the corridor, the camera facing the actor head on. On action both the gunman and the dolly begin to run down the corridor - the dolly begins tracking with him slowly but forcefully. As he nears the cell door he opens fire with his gun.

SHOT 1A: HANDHELD

The handheld shot is wild and frenetic, arousing a flustered response from the audience. It is as though they are caught up in the panic of the protagonist as she races up the corridor. 

SHOT 2A: TRACKING SHOT

The tracking shot, on the other hand, is strong and steady - its controlled speed makes the gunman seem single minded and intensely focused. This makes his pursuit seem all the more relentless and menacing. 



SHOT 1B: HANDHELD

The woman reaches the door and tries to open it. Being handheld, the camera is still buoyant and unsteady adding a restlessness to the scene. It's as though we are willing her to "hurry up!"  

SHOT 2B: TRACKING SHOT

As the dolly slows on the track, the gunman closes in on the camera. It feels as if he is speeding up toward us and the heroine. This dramatic surge ramps up the tension of the scene.

SHOT 3A: HANDHELD
Just in time we see the woman swing the door open and dive through as the gunman comes into the shot and lurches at her! She snaps the key in the door and makes her escape.
SHOT 3B: TRACKING SHOT
The gunman fires his gun but it ricochets off the bullet proof glass on the cell door. End scene. 

Additional motion effect

The juxtaposition of two forces moving in the same direction creates a sense of urgency and intensifies the action. It is as though two forces are on a trajectory for a head on collision! This is a very powerful tool to use when you want the chase scene to provoke feelings of stress and panic.
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Push & Expand

The push and expand maneuver uses a combination of tracking and staging to create a dramatic exit. 

THE EFFECT

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The audience follow the actor as he walks off - but he pulls away at a greater speed. It is as though they are unwilling for us to keep up. This distancing of actor and audience creates a sense of isolation and abandonment.

EXECUTION
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The dolly has been set up on a short track directly behind them (in this case 20ft). Two actors are positioned at the front of the track. On action they begin to walk down the beach toward the desolate seascape. 
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As the actors move forward, the dolly pushes off slowly, allowing the artists to walk faster than you are tracking. By the end of the shot they should be a considerable distance away from the camera (in this case the dolly moved 20ft, the artists 40ft, meaning they made a 20ft gain). 

As you can see in the shot above, the camera has moved forward to tighten up against the images in the     mid-ground - but the actors have moved a considerable distance away. It is as though they are becoming more isolated and alone in this desolate landscape. 

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It is a useful shot to use when the drama of a scene focuses on the actors becoming withdrawn and alienated. What makes this shot so effective is its mimetic quality. As the audience try to remain with the actor they themselves are forsaken, emulating feelings of isolation and rejection.

Push In

The Push in is a very subtle forward motion on the track, rousing a sense of attraction and fascination toward the subject. This effective tool mimics a 'leaning into' effect; it is as though we are listening into a private moment (eliciting our voyeuristic tendencies).
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EFFECT
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The push in creates the following effects:
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1. It Promotes Intrigue: The push in creates the impression of eavesdropping (drawing us into the drama). Our voyeuristic tendencies are roused by the motion of creeping in upon an exclusive moment. 
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2. It Arouses Wonder: Unlike a simple cut from a mid shot to a close up, the 'push in' is more magnetic, drawing us into the actor's performance and focusing upon a pivotal scene.  
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3. It Punctuates a Moment: The slow 'push in' tells the audience that this is an important moment, and when the track stops it acts like a full stop punctuating the scene.

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 EXECUTION
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Position the camera on a track facing the artist/s (either head on or in this case a profile). Aim to start from a wide angle such as a medium shot.

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In the following example the camera is slightly favoring the lady in the red top. This allows us to see more of her expressions as she seduces her partner.

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As the scene commences the camera begins to push in to a close up on the two artists, maintaining a slow creeping speed throughout.

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Unlike 'punching in' where you surge forward at speed, the 'push in' advances at a more gentle and gradual manner, (in may take as long as 30 seconds from the back of the track to the top of the shot).

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It is a very flexible tool that can be used to highlight all manner of activities and emotions. Here are some examples:

A Revelation:  A psychiatrist begins to recall his past with a client.
a) Push in - He remembers the boy telling him he see's ghosts, who often don't know they're dead. 
b) Stop + Punctuate - He suddenly stumbles in shock as he realises HE is a ghost!
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A Declaration:  A warrior rallies his kinsmen for battle:
a) Push in - He rouses them with words of encouragement and strength.
b) Stop + Punctuate - He roars at them with a fervent call to arms, "fight for your people, fight for FREEDOM!
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A Speech: A Defense attorney speaks to a white jury about a racist crime:
a) Push in - He asks them to imagine the trauma a little girl who was raped and beaten by drunks. 
b) Stop + Punctuate - He ends with a comment aimed at their own prejudices "Now imagine the girl is black" 
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If you want to keep up to date with my articles on motion photography, then follow my blog via email or join as a member using the options in the upper right hand column.
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Thanks for reading. 

Punch In

The Punch in move is a simple but forceful push on a track that suggests an emotional surge from the subject whether it be fear, shock or desire.


THE EFFECT
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'Punching in'  is a great tool for emphasising an actors performance. The sudden, brisk movement creates a visual surge akin to an emotional outburst. It can convey an array of emotional reactions depending on the context of the drama. This bold manoeuvre typically expresses a strong emotional response such as excitement, aggression or shock. 


EXECUTION
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Set up a slider or a track several feet in front of the artist. The dolly should be facing the actor head on. The idea is that you're pushing in from a wide shot to a close up. The distance is up to you, but generally speaking, the wider the shot and the faster you push in to a close up, the more dramatic the effect.

As the scene begins, you're waiting for an emotional beat to present itself; for example
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Comedic: The sobering realisation that you are sleeping with a marine's wife as he walks into the bedroom!
Dramatic: The immediate rush of adrenaline as an officer pulls a gun on you with the intent to fire. 
Traumatic: The sudden shock from a phone call that your son has been killed in the line of duty.
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If you want to keep up to date with my articles on motion photography, then follow my blog via email or join as a member using the options in the upper right hand column. 
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Thanks for reading. 

Counter Tracking

Counter Tracking is an alternative to tracking with action. Instead of following the direction an artist takes, you track against them to create a more dynamic and forceful image.


EXECUTION
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When staging a running scene, many directors set up a tracking shot to follow the artists trajectory. That's a legitimate choice, but there is another option that allows you to ramp up the speed and add more tension to the shot. It's called counter tracking and it works like this; you set up your track parallel to the artists line of action. However, instead of following the artists trajectory with the dolly, you start at the other end of the track and run against them. 

THE EFFECT
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This creates two dynamic effects:


1. Acceleration: the speed of the artist plus the speed of the dolly Doubles the overall velocity of the action. This makes the running scene feel more urgent and forceful.
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2. Tension: the opposing directions create a sense of visual friction. This elicits a feeling of conflict and discordance in the scene.
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Counter tracking works well in chase scenes or when a character is racing against the clock. It doesn't work so well when the character is just going for a jog or involved in a practical activity.
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If you want to keep up to date with my articles on motion photography, then follow my blog via email or join as a member using the options in the upper right hand column. 
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Thanks for reading. 

Odyssey Films Blog: Introduction

Hi There

My name is Simon and I'm the proprietor of Odyssey Films. Over the coming months I'm going to blog about the language of the moving image. There are a couple of terms i'm going to use throughout my blogs which I want to clarify now for the sake of further discussions. They are: 

Motion Aesthetics (the way in which motion affects our thoughts and emotions), and:

Motion Perception (our ability to perceive and interpret movement)

When we watch a film or video production, there are several types of motion that directly affect us, namely:

1. Camera motion (the way the camera moves within its environment)

2. Staging (the way an actor or model moves within their setting)

3. Editing (the way we cut around an image and transition through time)

The first chapter of my blog will focus on the how camera movement helps to influence our emotions. Motion perception is directly hardwired into our brains, and as you will come to learn, this motion can have a profound influence on our attention and emotional state. The greater your understanding of motion aesthetics, the greater your ability to influence the viewers emotional experience.

I'm going to show you how powerful this tool can be, and how in the right hands it can captivate an audience and entice customers to your product / service. Whether you're making a corporate video, commercial or feature film, its essential you understand the art of motion aesthetics. 


If you want to keep up to date with my articles on motion photography, then follow my blog via email or join as a member using the options in the upper right hand column. 
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Thanks for reading.