Why should I use or not use a dolly zoom/vertigo shot?

[Jellybronut]

I'm currently storyboarding a project to be filmed in a couple months right now. It's a short 5 minute horror/thriller, which is important for my question.

The opening scene is a girl waking up, strapped in a chair. She is panicking and frightened because she is in her own home strapped to a chair. I am thinking about having the opening shot be a dolly zoom on her face (also known as the vertigo effect too). I want to start the camera about eye-level with her, and then either zoom in while moving back or zoom out while moving forward.

I feel like it will work because the perception change throws off the viewer and makes it almost uneasy. It also expresses the constriction she is in because while she isn't moving, the world around her is so she has no control over her situation.

Now that I have told you why I like it, I will tell you the advice I have heard against it. People say it's a common technique in generic indie films that alerts critics and readers they aren't creative. I guess the biggest complaint is that it is used too much in bad ways. I don't want to use shots that will make my movie look uncreative. I haven't seen this shot used in a modern movie in a while, so I'm trying to stop it from looking old too.

I'm going to shoot it no matter what, but I don't know if I will include it in the final cut or not. Given the information you now know, what would you recommend? Would the dolly zoom be effective in my shot?

 

[Zensteve]

I'm going to shoot it no matter what, but I don't know if I will include it in the final cut or not. Given the information you now know, what would you recommend?

Why on earth would you waste everyone's time shooting a precision shot if you're not even sure you want it?

If you think it suits your film, use it.... and take the time to make it look good.

If you decide you don't want to do that shot, then that frees up time to allow proper planning for the shot you do want to use instead.

The decsion on what to do is yours. There is no right or wrong - but there is planning & proper execution to make it worth the while.

.

 

[Jsthompson79]

When I first read this I had to double check to see if this was a H44 question. It just comes across as something he'd ask. In my opinion shoot your film how you want. The audience will do one of two things: They will either like it or they won't. As for critics I don't know too many that watch a 5 minute short unless you manage to get it into a festival. With that being said I wouldn't worry about critics opinions.

I personally like the idea and if it was something I felt added to the story I would use it. You will receive several opinions on what you should and shouldn't do but in the end it is up to you what you do.

 

[jax_rox]

Successful Directors focus on telling stories and using cinematic devices to help further the story.

They don't focus on whether people will think they're 'creative enough.'

 

[rayw]

When I first read this I had to double check to see if this was a H44 question. It just comes across as something he'd ask.

Agreed!

In my opinion shoot your film how you want.

Agree, again.



It is an old technique.
It'll be a minor PITA to pull off.
No one with any brains in their head will care what techniques you do or don't use.
STORY is king. Execution is gravy.

Shoot the scene several ways.
In the editing seat one will look best - pick that one.
Done.

 

[itarumaa]

I would put the girl to sit in the chair in the middle of empty room. All the furniture would be taken away except the chair.

Then I would place the camera in four corners of the room, as high as possible.

So this would give an indication that someone is watching her.

 

[Sweetie]

I am thinking about having the opening shot be a dolly zoom on her face (also known as the vertigo effect too). I want to start the camera about eye-level with her, and then either zoom in while moving back or zoom out while moving forward.

I feel like it will work because the perception change throws off the viewer and makes it almost uneasy. It also expresses the constriction she is in because while she isn't moving, the world around her is so she has no control over her situation.

Now that I have told you why I like it, I will tell you the advice I have heard against it. People say it's a common technique in generic indie films that alerts critics and readers they aren't creative. I guess the biggest complaint is that it is used too much in bad ways. I don't want to use shots that will make my movie look uncreative. I haven't seen this shot used in a modern movie in a while, so I'm trying to stop it from looking old too.

I understand what you're trying to pull. I suggest that you avoid using it. I suspect that you don't understand the uses for this technique and the reason you do it. Why on earth would you want to pull your audience out of the moment for your establishing shot. Only do it if you have a really specific purpose to that shot. If this isn't the first scene, If I were you, I'd consider a dissolve, followed with a jib/crane shot from above to give the audience the feel of lack of control.

On top of that, is it even likely to work in this room? Is the size of the room big enough to pull off the effect, let alone enough space to run the dolly. Was that something you considered? Establishing with this shot is just a really, really, really bad idea.

 

[Jellybronut]

When I first read this I had to double check to see if this was a H44 question. It just comes across as something he'd ask. In my opinion shoot your film how you want. The audience will do one of two things: They will either like it or they won't. As for critics I don't know too many that watch a 5 minute short unless you manage to get it into a festival. With that being said I wouldn't worry about critics opinions.

I personally like the idea and if it was something I felt added to the story I would use it. You will receive several opinions on what you should and shouldn't do but in the end it is up to you what you do.

Thank you. I mentioned critics not because of how I think they will respond but more of how they view filmmaking as a whole. I won't be thinking about critics when filming later at all because I will try to focus on a good story.

Successful Directors focus on telling stories and using cinematic devices to help further the story.

They don't focus on whether people will think they're 'creative enough.'

I do agree. When I made this post I was concerned about both. I wanted to use it to tell a story and my main question was about if people would think I was 'creative enough' which, as you pointed out well, is a big problem. I am only going to focus on telling the story in a way I think will work. If it ends up working, great. If not, at least I learned something from it.

I would put the girl to sit in the chair in the middle of empty room. All the furniture would be taken away except the chair.

Then I would place the camera in four corners of the room, as high as possible.

So this would give an indication that someone is watching her.

While I like the idea, it doesn't fit in the context of my film. The basic premise is that the girl was kidnapped so that she could share a dinner with a cannibal. If I have her in an empty room it takes away from the story I'm trying to tell. I could do it the way you suggested but I don't think it will work the way I have envisioned.

I understand what you're trying to pull. I suggest that you avoid using it. I suspect that you don't understand the uses for this technique and the reason you do it. Why on earth would you want to pull your audience out of the moment for your establishing shot. Only do it if you have a really specific purpose to that shot. If this isn't the first scene, If I were you, I'd consider a dissolve, followed with a jib/crane shot from above to give the audience the feel of lack of control.

On top of that, is it even likely to work in this room? Is the size of the room big enough to pull off the effect, let alone enough space to run the dolly. Was that something you considered? Establishing with this shot is just a really, really, really bad idea.

You're right. I fully don't understand the uses of this technique. From what I have read, it made it seem as if it should be used for a climactic revelation. I still see it working in some ways, but not nearly the same way as I previously thought and I am seriously reexamining it. I am not ruling it out yet but I'm now considering a lot more.

To sum it up: I am going to focus on telling the story in a good way. I think there may be better ways to introduce the character. Also, I am going to stop focusing on how people view my "creativity" so that I can tell a better story, which is something I haven't been doing.

Thank you all! Your input has been very valuable!

 

[ChristopherArter]

If I had a nickel for every short I've seen involving a hostage / chair.. I would have at least $5-6 bucks

IMO that setting has been done to death, just my opinion. Good luck though, I'd love to check it out when it's complete.

 

[Tessa]

If you don't fully understand how to use that type of shot, why not make it and see how it works in editing? That way your doubt will be gone completely and you'll have learned something. I find it's better to take a long time to do things right (or wrong) than have this nagging feeling afterwards that you might have had a good idea, but didn't go ahead.

 

[wheatgrinder]

cmon, its just a short.. could be cool to open with a push pull shot. Me I wouldn't do it, its not intimate enough.. ...


Id open right in her face, an extreme close up of her panicked eye darting to and fro.. slowly dolly out to see her gagged .. keep moving out revealing candle sticks, flowers fancy dishes and the like all set out in front of her on the table for a fancy meal.. (or creapy variation of skulls for soup bowls .. its your movie not mine!)

Great shot for a DIY slider dolly setup on the table,

dont got too wide, keep the head room low so that when suddenly the "figure" steps in behind her and places a hand on her shoulder, she remains the subject as she screams.. all one shot to this point, now you can cut to whatever is next.

 

[knightly]

Go for it, see how it looks. You saw it in your head, or thought it would be cool... do it. If it doesn't work, you've learned something, if it does; you've made a cool looking thing that could have people talking about it.

 

[David.rhsc]

Chair in the empty room, camera at her eye level, her eyes dead center frame, chair centered in room. Camera perfectly still. Room size/lens choice relationship emphasizes the single point perspective.

We watch as she slowly regains conciousness, the camera remains still, we watch her slowly realize her situation, still the camera doesn't react. She begins to panic, flail, attempts escape.

The camera impassionately watches, motionless.

Hold this moment until you are really uncomfortable. Then hold it a little longer.

Cut to black.

(alternate, slightly more cliche)

...

Hold this moment until you are uncomfortable. Camera finally begins slow creep away from here, on axis, straight line, barely perceptible at first.

Just when the viewer really could not stand another moment of this girl struggling in the chair, camera passes through doorway, door slams.

---

Or something.

Point is there is something to be said for an unflinching, emotionless camera forcing the audience to be in a moment longer than they are really comfortable with. This works best for scenes like this, and not so much on "gore" - imo.

 

[WalterB]

"Close ups have been used very often in movies. Sometimes really bad ones. I don't want to look uncreative. Can I still use close ups?"

"Voice-overs are often used in bad ways to tell and not show. Some critics will call it lack of imagination.
Can I still use it?"



Almost every technique you'll use, people will have seen it before.
(I even saw bullettime before the Matrix premiered)
If you think the technique will help your stoy: use it!

It's really that simple.

(About voice-overs: that is indeed done in a terrible way sometimes, but other times in a brilliant way. (Thin Red Line or Dexter!)