Editing Vertigo (film) (section)

====Subsequent studio shooting====
Following 16 days of location shooting, the production moved to Paramount's studios in Hollywood for two months of filming.<ref name="obsessed" /> Hitchcock preferred to film in studios as he was able to control the environment. Once sufficient location footage had been obtained, interior sets were designed and constructed in the studio.<ref name="obsessed" />

Hitchcock popularized the [[dolly zoom]] in this film, leading to the technique's sobriquet, amongst several others, "the ''Vertigo'' effect". This "dolly-out/zoom-in" method involves the camera physically moving away from a subject whilst simultaneously zooming in{{efn|Some sources say that ''Vertigo'' uses dolly-in/zoom-out. The ''Obsessed with Vertigo'' [[DVD documentary]] says that the shot was achieved by "zooming forward and tracking backward simultaneously".}} (a similar effect can be achieved in reverse), so that the subject retains its size in the frame, but the background's perspective changes.{{sfn|Klein|2005|pp=33–35}}{{sfn|Mamer|2008|p=25}} Hitchcock used the effect to look down the tower shaft to emphasise its height and Scottie's disorientation.{{sfn|Sipos|2010|pp=120–121}} Following difficulties filming the shot on a full-sized set, a model of the tower shaft was constructed, and the dolly zoom was filmed horizontally.<ref name="obsessed" /> The "special sequence" (Scottie's nightmare sequence) was designed by artist [[John Ferren]], who also created the painting of Carlotta.{{efn|Multiple sources:<ref>{{Cite book |url=https://books.google.com/books?id=UjrX5p_qkc4C&q=John+Ferren+Carlotta+painting+producer&pg=PA199 |title=The San Francisco of Alfred Hitchcock's Vertigo: Place, Pilgrimage, and Commemoration |last=Cunningham |first=Douglas A. |date=2012|publisher=Scarecrow Press|isbn=978-0-8108-8122-8}}</ref><ref>{{Cite news|url=https://news.artnet.com/art-world/new-film-history-book-frames-artworks-as-the-stars-of-the-silver-screen-8545|title=New Film History Book Frames Artworks as the Stars of the Silver Screen |last=Fuller |first=Graham |date=April 7, 2014|work=artnet news|access-date=April 25, 2018}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=uNsiAgAAQBAJ&pg=PT100 |title=Vertigo: The Making of a Hitchcock Classic: Special Edition|last=Auiler|first=Dan|date=November 21, 2013|publisher=Dan Auiler |isbn=978-1-311-53317-3}}</ref><ref>{{Cite web |url=https://www.famsf.org/files/vertigo_4.pdf |title=Alfred Hitchcock and San Francisco}}</ref>}}

The rotating patterns in the title sequence were created by animator [[John Whitney (animator)|John Whitney]] using a [[Kerrison Predictor]], a [[mechanical computer]] which was used during World War II to aim anti-aircraft cannons at moving targets. This made it possible to produce an animated version of [[Lissajous curve]]s.<ref>{{cite web|url=http://rhizome.org/editorial/2013/may/9/did-vertigo-introduce-computer-graphics-cinema/|title=Rhizome|date=May 9, 2013 |access-date=March 8, 2016}}</ref>