Dolly zoom vertical effect the trombone shot. Today, we’re, going to learn how to do it on a drone with the help of a little bit of post-production, and we’ll get some shots like this [ Music, ] hello.

My name’s, Joe Carroll, and this is Joe and Phil go to the channel where we learn to fly like filmmakers. Now, if you’ve ever watched a television orb in the cinema, you’ve, probably with or without realizing it seen, a dolly zoom shot or a vertical effect shot.

Essentially, normally it focuses on a person’s face and you see the face static in the shot, while the background goes crazy around them, creating all kinds of Warped senses of perspective and it’s just for a very powerful creative effects.

In a number of films, such as jaws and et, I’ve, actually put some links in the description below where you can learn more about the vertical effect, the history of it and so on and so forth from people better qualified than myself.

To explain it to you, however: we are going to apply it to the world of drawings, with the help of a little bit of simple post-production, so you can replicate the effect that I’ve already shown you in the introduction.

Let’s, get right into it, okay, so here we are in Final Cut Pro and we have the original clip. I’ll just play that for you, so you can see what it is: nothing more complicated than a simple tracking back shot on the Phantom 4 in this case.

But you can do this on any any drawing you don’t need any special skills, intelligent flight modes. Anything like that. Just simple flying back piece of cake question is, however, how do we get from this shot to this shot? Oh there we go dolly zoom, I’ll, delete that and take you through the steps.

Now, if you remember what I was saying before, we want the subject to stay the same size and we want the background to do all the zooming and that’s. What creates the warping effect now? The clue is in the title of the shot at dolly zoom there’s, two components: the dollying and zooming.

If you look at this backward motion here and the forward motion, when I reverse it, that is essentially dollying, it’s, a tracking shot. In a note. What we don’t have, however, is a zoom on the phantom 4.

So much as I would love one, and I say no one can tell me how to zoom on a phantom 4. We can’t, so we need to rely on some post-production trickery. So with that in mind, let’s copy and paste this for a reference point, and you will see what I mean by that in a second.

We want this house to stay the same size, so we want it to be the same size at the end of the shot. As a is at the start of the shot, let’s, have a look, select the clip and bring up the inspector. If we go to transform here on Final Cut and go to scale, we can scale the shot up to what we think will match the end point with the start point of the clip.

Alright, we’ll make that 160 percent. Now, as it happens, I know that’s, the correct number, but you may have to do some trial and error on your shot to get the subject at the end of the clip the same size as it was at the start of the clip.

Let’s just check. Roughly speaking, the size of the house is the same, the end of the clip as it was at the start, and that’s. Why this second clip was here. So we don’t need that anymore. So we’ll just delete that it was just a reference to help us out.

Now let’s, see what we’ve achieved absolutely nothing. All we have done is zoom the entire clip 160 percent, which doesn’t serve any useful purpose whatsoever. Now, fortunately, there’s. This thing called key framing on Final Cut, so I can keep rim this shot at 160 percent.

What these key frames allow me to do is change any of these parameters throughout the course of the clip so on the scale here, I’ve keyframe that 160 percent at the end of the clip, and I can now go to the start of The clip and keyframe that at 100 percent, the result of that is that we now have a smooth zooming motion from 100 % at the start of the clip to 160 percent.

At the end of the clip, and as you will have noticed, that is us done. Watch up here and you’ll, see the scale change as we move from the start, at Short to the end of shot, its 100 % at start and 160 percent.

At the end, the dolly zoom completes. I’ll play that for you, so there you have it. That was pretty simple. Wasn’t it all we’re talking about, is taking the right kind of shot and putting a little post-production zoom on it to create the effect of the shifting background, while the subjects this still speaking, of which we need appropriate shot.

So a couple of things just to mention before we go the shot has to have a background. You have a foreground in the form of a subject building person wherever it is on a background without a background.

There’s, nothing to move there’s; nothing to create that illusion of of what perspective. So, if you have your camera, pointed at the ground from your drone, you’re, not going to get any sense of shifting backgrounds.

It just won’t work. The second point is we’re talking about a post-production zoom, which, by definition means a loss of resolution in these clips were shot in 4k, which meant that we could safely zoom in to 200 %.

If we intended to deliver the project in 1080p, full high-definition as it happened in the clip, we only needed to zoom in 160 percent and we still got a powerful effect. So we were well within our safety zone of post-production zooming.

Beyond that, get stuck in enjoy see what you come up with. Leave some comments for a little leave.