Wipe Track

A wipe track is used as an alternative to the standard cut. Instead of using an edit between two locations, a wipe track hides the cut through a single motion, creating a smooth, continuous transition between scenes.


EXAMPLE SCENE
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V for Vendetta uses  a wipe track between V's underground base and Evey's bedroom. This is achieved by the camera moving from a shot of V's room past a dark edge within the foreground - wiping the image to black. This shot is then reversed in Evey's room (i.e. from a black edge to an open shot of Evey by a mirror). The dark edges of both shots can then be used as a cut away. When edited together, the camera appears to track from one room to the other without a visible edit (see clip below). 

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EXECUTION 
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A wipe track requires two locations, a dolly, some track and a dark edge for the camera to wipe past.   
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* Please note, in the above example I've used the set wall as an edge to make a wipe cut. However, you can use anything dark for a wipe track such as the back of a TV, a cupboard, tree trunk or building wall. The most important point is that you use a dark edge in the foreground to wipe the screen to black.
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THE EFFECT
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The wipe track creates a fluid passage between scenes making it feel more polished and uninterrupted. Where as a cut acts like a full stop between two scenes, the wipe track acts like a comma (creating a more subtle blend). Its most common use is to keep the visual energy moving from one scene to the next. 

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It also helps to merge a number of scenes together into a more cohesive form (known as a sequence). The wipe track makes it feel as though the scenes are interconnected as part of a greater whole (known as synergy). This interconnection of scenes, when combined, produces a dramatic effect that is greater than the sum of its parts. Below are two examples of this synergy:

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Dramatic Energy        A series of scenes are moving toward a dramatic conclusion. To maintain the 
                                  emotional build-up, wipe tracks are used to transition from one scene to the next. 
                                  This helps to overlap the emotional energy, building it toward a dramatic climax.
Rising Tension           As the pressure begins to rise over a number of scenes, it can be detrimental to use
                                  a cut as it inhibits the rising tension. In these moments the wipe track serves as a
                                  continuous drive of energy, helping to build the tension without a respite.

EXAMPLE 2

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In another scene of 'V for Vendetta', we see V making an impassioned speech to the British public. His dialogue takes place over a number of scenes - every shot moving from left to right creating a sense of purpose and direction. This singular motion helps to visually bolster V's speech as he insists to his audience that they be single minded in their resolve and make a stand and for their freedom'.

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His dialogue underpins the whole sequence, joining the scenes together as a single statement. In this case the directors has chosen to punctuate this synergy by using a mixture of match cuts and wipe tracks to maintain a graphic continuity. In effect, the dramatic energy builds and builds in what appears as one smooth, uninterrupted plea that strikes the heart of his audience. 

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* A match cut is an edit made between two different objects, spaces, or compositions in which the object in the two shots graphically match, often helping to establish a strong continuity of action.

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Dolly Zoom (Track Out - Zoom In)

The Dolly Zoom creates a surreal 'in camera' effect that distorts the background perspective while keeping the foreground largely unaffected. It's surreal quality often give rise to a tension between the foreground characters and the world they inhabit.

THE EFFECT 
During this shot the subject remains the same size within the frame while the background begins to swell and expand - dominating the subject.  Seeing a perspective shift without a size change is highly startling and surreal. This technique can create several emotional effects depending on the context of the scene (and the speed with which it is executed). Here are a few examples:

                               SLOW EXECUTION:
*  Disorientation:      The swelling of the background reflects the characters delirium; the shifting space
                                captures a sense of someone who is dazed and confused or faint and giddy
*  Claustrophobia:   The backdrop enlarges, dominating the subject. It appears as though they are boxed 
                                into a small, cramped space - the walls literally closing in around them
*  Paranoia:              The surreal shifting of perspective creates an hallucinogenic effect. The swelling of the 
                                backdrop suggests the character is experiencing a distorted sense of reality - making 
                                them appear delusional and unhinged.

                                FAST  EXECUTION: 
*  Oppression:          The background comes rushing toward the foreground, imposing itself upon the subject.
                                This sudden jolt appears menacing and unnatural, as though a sinister force approaches
*  Shock:                  The dramatic expansion of the background creates a sudden grounding as the   
                                character is brought back down to earth with a nauseating thump!
*  Boldness:               The subject appears as a small feature in a broad landscape, then it suddenly 
                                 collapses, accentuating the foreground character in a single, bold manoeuvre. This 
                                 sudden shift amplifies the subject, making them appear more bold and commanding


THE SCENE 
In this scene I'll be using Martin Scorsese's Goodfellas to demonstrate the reverse dolly-zoom. Henry (Ray Liotta) has come to a restaurant to see his 'friend' James (De Niro). He is paranoid that James want's him dead so he discusses his current dilemma in a public place to gauge whether he and his family are in danger. 
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EXECUTION 

Other Examples

In the Fellowship of the Ring, Frodo senses the approach of a ring wraith. Although we do not see it, his POV begins to distort as the treeline in the background comes rushing toward him as though some sixth sense is warning him of an impeding threat.




In La Haine, We see the city backdrop slowly expanding upon the yobs in the foreground. It is as though the city walls are hemming them in. We literally see a wide cityscape shrinking and confining the characters within the a small frame. This can be taken as a metaphor of the city acting as a prison

Dolly Zoom (Track in - Zoom out)

The Dolly Zoom creates a surreal 'in camera' effect that distorts the background perspective while keeping the foreground largely unaffected. It's surreal quality often give rise to a tension between the foreground characters and the world they inhabit.


THE EFFECT 
During this shot the subject in the foreground remains the same size within the frame while the background begins to open out and recede. Seeing a perspective shift without a size change is highly startling and surreal. This technique can create several emotional effects depending on the context of the scene (and the speed with which it is executed). Here are a few examples:


SLOW EXECUTION:

Attentive:      As the background diminishes, the character in the foreground remains focused on something. 
                      It is as though everything else drifts from his attention as he listens intently 
Isolated:        As the background pulls away, the character in the foreground begins to look more 
                      isolated from his/her environment. In one single motion they appear more alone in the world
Bold:             As the background converges with the horizon, the character in the foreground seems to be 
                     magnified, as though they are gaining in strength and confidence
                      * Tip: Jib down while executing this shot to make the foreground character look more dominant
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FAST EXECUTION: 
Surprised:    The sudden collapsing of the background punctuates the foreground character. It      
                    is as though their whole world has fallen away in a single moment of shock and awe.
Vertigo:        As the background drops away, it literally creates a sense of falling-away-from-oneself, 
                    revealing the characters nausea and disorientation
Fear:            The falling away of the background mimics the falling away of courage as the character 
                    witnesses a horrifying event. It singles them out making them appear exposed and vulnerable


EXAMPLE

In the film The Black Monk (1988), Andrey (a Russian scholar) is walking in a garden to settle his nerves. However, he begins to sense a strange presence haunting the grounds which only serves to further affect his already disturbed mind. 

The visual distortion is unnatural to the human eye and helps to provoke an unnerving effect. As Andrey becomes disconnected from his surroundings, he also draws further into his psychosis and isolation. 

EXECUTION 

In this example I use a 30 ft track, but it can be anywhere from 15 to 80 ft depending on the size of the zoom lens and how fast you wish to track.

Other Examples

In Hitchcock's Vertigo, John Ferguson (James Stewart) is chasing Judy (Kim Novak) up a bell tower to force a confession out of her. However, the higher he climbs the stairwell, the more giddy he feels from his vertigo. The effect in this sequence creates a sense of disorientation and dizziness.

In The Wire (series two), Sobotka talks to his nephew about a family crisis. As they argue the high rise buildings slowly recede into the distance. Sobotka's family is lost, and they have nowhere to turn to for escape. This shot highlights how isolated they both are.

In Jaws the dolly zoom captures the sense of shock and horror that Chief Brody experiences when he sees a shark attack. As the background sweeps away from him, it is as though his concentration shoots forward with a sickening realisation.

Orbital Track

An orbital track sets the camera in a motion around its subject. Typically the central character remains static as the camera spins around them in a circular motion.


THE EFFECT
This dynamic shot turns the subject into a visual hinge whilst the camera swings around them in a 360° axis. The orbital motion centers the subject making them a prominent and significant feature in the shot. There are several effects that can be created using this motion depending on the context of the scene. These include:

1. Dominance: The motion endows the subject with a sense of importance and grandiosity 
2. Confinement: The subject appears hemmed in by surrounding forces that circle and entrap them 
3. Vigilance: The subject scrutinises their immediate environment in a single held shot


THE SCENE
In this particular scene I'll be using an orbital track from Ridley Scott's Gladiator as an example of ALL THREE effects. Decimus Maximus (Russel Crowe) walks into an arena with his fellow gladiators ready for battle. They are slaves to the crowd who rant ecstatically for their blood - all in the name of entertainment. See clip below:

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* Please note this orbital motion may have been achieved by a steady-cam, but I have used a circular track to explain the same effect using a similar method. 

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EXECUTION

1. Set up a circular track left of the artists. The camera should be on the side of the track closest to the actors.
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2a. On action, the gladiators walk a linear path into the circle, turning around to look at the crowd. 
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2b. On action the camera glides counter clockwise around the track, facing the gladiators head on at all times. 
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* NB The actors should turn with the camera maintaining a forward facing position.
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3. As the artists enter the circle the camera should be half way around the track.
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4. At the end of the shot the actors stop in a triangular formation facing the camera. At this point the camera comes to a rest punctuating the shot.

                    Motion Effects

Dominance

The orbital track creates a visual juxtaposition between the foreground and background motion:

• The foreground image remains relatively static & centered as though it were shot in slow motion.
• The background image sweeps rapidly across the horizon appearing blurred and uncontrolled.

This contrast makes the foreground characters appear firm and resolute in a world that seems wild and turbulent. It endows the subject with a sense of gravity, making them appear solid, steadfast and composed. 

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Confinement

The 360° panoramic shot shows the audience that the gladiators are surrounded by a raving mob. In this context the coliseum appears like a cage that blockades the characters in a confined space with no escape route. It adds an edge of tension and intimidation.

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Vigilance

By following the gaze of the gladiators, we (the audience) view the frenzied crowd from their perspective (albeit it from a mirrored perspective). Whereas a static shot can only show us a single, fixed viewpoint in space, the orbital track reveals the whole environment. We see everything helping us gain a greater sense of geography and better assess their predicament.


* Additional (Low Angle Effect)
This clip is shot from a very low angle which makes the Gladiator's look like giants towering above us. This low angle compounded with the orbital track adds to the sense that they are strong, resolute warriors ready for battle.

Crash In

Crash in: a forceful maneuver that renders an extreme response to something.

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The Effect
Crashing in is a profound use of motion where both the artist and the camera move toward one another in a strong, singular vector. This collision of two opposing forces can elicit a strong emotional response such as shock, fear or awe or fear. Three primary uses of this effect are:

1. Surprise: The artists encounter something overpowering that stops them dead in their tracks
2. Confrontation: Two opposing forces come head to head in a showdown, a battle of wills
3. Fusion: Two forces gravitate to one another in an intense union
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Execution
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In this particular scene I'll be using Jame's Cameron's Aliens as an example of a confrontational 'crashing in'. Ripley is trying to protect Newt, (a young girl whom she has taken into her care), from a Mother Alien which threatens to kill her and the surviving crew.
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Part A: Crash in, full shot to full close up!

The actress enters the landing dock clad in a mechanised body-suit. 20 ft of track is laid down directly in front of her. On action she walks several toward the camera (around 10 ft) while the camera rushes across 20 ft of track toward her. With the addition of two forces moving toward one another it appears as though the actress is accelerating toward us. In the above image she moves from a full shot to a close up in a matter of seconds! 
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Part B: Static, Close up 
We cut from a close up of the actress to a close up of the Aliens maw as it  lets out a guttural hiss. It is quite literally a face off!


Motion / Emotion
The motion of two opposing forces coming together (camera and artist) creating a visual collision. It appears quite threatening and forceful eliciting an aggressive feeling from the audience. It mimics the human action of stepping aggressively into another persons face as though to goad them into a fight. 
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When the camera tracks and stops on her close up it helps to punctuate her following line "get away from her you BITCH!" This effect is often used to intensify dialogue and give it more punch, especially in a confrontational scene. 
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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.