In fact, the only really difficult part of the shot is just designing it in the first place. The second is another shot that starts with the lens blocked by the modern umbrella, and then we see a different actor on a different street. In the example above, the setup consists of two different shots: the first is a shot tracking an actor that ends after a large object, like our parasol, has filled the screen and crossed the camera frame. There's nothing that's technically difficult about setting up a wipe like this. In this case, by suddenly shifting the timeframe and the age of the central figure, the viewer is confronted with the brevity of life, providing an emotional connection with Karl and his situation. The wipe evokes an emotional reaction from the viewer by taking an already established setting and then changing it with no real warning.In this case the key elements - and more importantly, the context that they provide - are both the storefronts and Karl, as a younger man and then an older man. The wipe links both scenes in context by matching key elements at different points in time.Both are filling the lens and moving across the camera frame and both will briefly fill the scene. In this case, our linking elements are the parasol and the umbrella. It softens the shift by use of a linking element.The wipe provides an instant transition from one time period to another but it also achieves three different but very important results: Karl, once young and vigorous, is now an older man standing in front of an ordinary strip-mall. The screen goes dark for a split second… and then becomes a modern-day umbrella, carried by an older woman. As she passes in front of him, the parasol fills the frame. As he watches the passersby, a young woman with a sun parasol moves into the scene from the left. However, we're going to look at creating the wipes on location, using subjects or elements that move across the camera frame, commonly called "wipers." The two natural wipe types that we'll cover in this issue are:īy far and away the most common use of wipes for scene transitions goes something like this: we see a young man - we'll call him Karl - standing in front of the General Store in the 1930s. Generally wipes are post-production effects, and most often signify a transition from one scene to the next, usually suggesting a change in time or location.
And there are few tools more effective and powerful than a little thing called a "natural wipe." Two-For-One Simple: You use the visual vocabulary as a tool to elicit the response you need from the scene. How do you impress somebody as jaded as that? Through exposure to thousands of hours of television and movies, every potential viewer of your video already has an advanced film vocabulary. Our media-soaked culture has made cinematic shorthand a second language.Īlthough the average viewer may not be able to describe the technical difference between a dissolve and a jump-cut, he sure as heck knows what they look like - and more importantly, how they impact the story.
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