Editing Dolly zoom (section)

=== Uses ===
Among the many creative uses the dolly zoom can provide to [[cinematographers]], the shot can be divided into two types: the dolly-in/zoom-out and the dolly-out/zoom-in. The dolly-in/zoom-out shot is usually centered on a subject, where the background is pushed away from the character to create a profuse amount of uneasiness. For example, [[Poltergeist (1982 film)|''Poltergeist'']]'s famous dolly zoom stretches the background to make it seem as if the door is much farther away from the character than it actually is. In contrast, the dolly-out/zoom-in shot shrinks the background to seem much closer than it really is.<ref name=":3"/>

The dolly zoom is commonly used by filmmakers to represent the sensation of [[vertigo]], a "falling-away-from-oneself feeling" or a feeling of unreality, or to suggest that a character is undergoing a realization that causes them to reassess everything they had previously believed. In general, the dolly zoom's amplification of emotion is a special effect that compliments a director's arsenal of creativity. For example, in Sam Raimi's ''[[The Quick and the Dead (1995 film)|The Quick and the Dead]]'', a dolly zoom, coupled with a [[Dutch angle]] shot, exemplifies drama between an intense [[shootout]]. An uneasy feeling of suspense can also be signified through a dolly zoom, most notably used in the movie ''[[Split (2016 American film)|Split]]'' in 2016, where Casey Cooke peers off into the distance in unwanted curiosity. Other uses include demonstrating overwhelming fear or important epiphanies for a character.<ref name=":22"/> The dolly zoom can also be utilized for the purposes of tonal shifts within the film. Directors may also decide to use the dolly zoom as an alternative to the generic [[wide shot]] in order to give sufficient [[Exposition (narrative)|exposition]] on the upcoming scene.

The technique does not necessarily need to be used for aesthetic or narrative
reasons; it can serve as a way to seamlessly transition between two focal
lengths to take advantage of the different perspective distortion of each angle
of view. In the 12th episode of the first season of ''[[The Sopranos]]'', a dolly
zoom is used during a twenty-second shot that displays the character Mikey
Palmice talking to two hitmen on a street corner at its start and ends with the camera looking into the interior of a car to capture his discussion with his boss
Junior Soprano, who is parked close by.<ref>{{Cite web
| url=https://www.youtube.com/watch?v=SoBC3xC1Mjw?t=87s
| title= The Sopranos - Donnie gets Whacked
| website=YouTube
}}</ref>
The shot follows Mikey's short walk between the two settings, and the camera
pans to the side and [[Tracking shot|tracks]] backwards away from Junior's car,
causing the background to "grow" in size as the cinematographer zooms the lens
in and the camera moves backwards. Here, the effect is used to avoid a
compromise that would otherwise be necessary: a longer focal length throughout the shot would show less of the surrounding streetscape, and a wider one would introduce distortion that would make Mikey appear smaller than Junior. The
technique allows the cinematographers to achieve the framing and perspective
they want at both ends of an extended take without needing to introduce an additional
cut into the scene or disturbing the viewer's [[Audience immersion|immersion]] by making the movements of the camera more apparent.