Dolly Zoom

When Dolly zoom moves the camera on rails ( Dolly ), while the focused object by an opposite adjustment of the focal length unchanged while driving in the image remains. This is the framing of the background either higher (with the Wegfahrt - dolly out, zoom in ) or smaller (in the driveway - dolly in, zoom out ) which creates an unnatural sogartiger effect, the first time in Alfred Hitchcock's film Vertigo - From the Empire the Dead (1958) was used to fear of heights to express. As the inventor of this effect is Irmin Roberts , who at that time for the filming of Vertigo as a cameraman (cinematographer), the 2nd unit had been committed.

The final effect is also often confused by experts because it appears at first contradictory. The background appears to meet the viewer when the camera moves away from the scene (see accompanying chart). Conversely, if a dolly in the extended perspective. Hitchcock himself was in one of his interviews with Truffaut erroneously to a dolly out remembered because in the appropriate settings in the movie Vertigo seems to remove the floor of the tower.

The dolly zoom is not in the post-production , but only live on set to produce a relatively large effort since then and was therefore rather rare and only used by very experienced directors. The difficulty is that the movement of the camera, changing the focal length and sharpness of the correction should provide a uniform motion, so the effect is perfect.
Steven Spielberg used the dolly-zoom in his ocean thriller Jaws . Here the shock response of the protagonist finds resonance in the camera work, as a lead actor Roy Scheider witness is like a shark kills a little boy. His face seems frightened by the dolly zoom rushing round to the spectators. 

In the Spielberg production Poltergeist is from 1982 in a setting both a dolly zoom in and a dolly zoom out used as a result here gives the impression that the film shown corridor would be reduced first and extend it again, with the zoom out eventually transition into a tracking shot to the end of the corridor leads to pursue an actress, as she runs into in the hallway. On the one hand, this gives the conclusion of a special dynamic setting, on the other hand by the dolly zoom but also to some extent, exposed. " 


Here in the beginning created the eerie impression that approximates the background to the foreground (if a person or object strongly to the fore), to make Francis Ford Coppola in Bram Stoker's Dracula advantage, but by deliberately in a scene no dolly zoom is used but the walls of a room can actually move through a moving scene image on the figure in the foreground. 

The impression is almost the same, however, is achieved through more traditional 'methods, which Coppola devotes much anyway (see also references in the film appear on the silhouette film and wanted to imperfect thumbnail images). Meanwhile, the real Dolly Zoom is widespread, but it can also occur unintentionally, as if shot from a moving car in the same direction and zoom out from a smaller image appears.



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