Seth Paxton
Senior HTF Member
- Joined
- Nov 5, 1998
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Something to note regarding this technique. Compare the effect to the straight slow zoom in.
Slow zoom in usually represents inner thought for the character in focus or perhaps them feeling intensity or pressure in the moment. Sometimes it can be to intensify the person with the audience, usually if the character is speaking, but this is also often done with an inward tracking shot instead.
By adding the reverse tracking (zoom in/track out or vice versa) the element of thought or intensity remains, but it is now spiced with discomfort, estrangement, a sense of uneasiness.
This is the language of film, of course. I'm sure many of the readers in this thread are more attuned to it than the average viewer, but I think sometimes the casual fan might disregard a notion such as "language of film" as some pompous arty BS idea.
But it's not. The conventions of certain shots and techniques become almost phrases and idioms that all viewers come to understand instinctively.
In this case think about the effect of switching to a normal zoom. You have a two shot of DeNiro and Liotta, a typical conversation/situation for the characters to normally be in, and a typical type of shot for such a normal conversation. The conversation, the bond, the interaction is the center of the frame at this point, before switching to 180 degree cuts back and forth between talking close ups.
So if the film sits static, it's just a conversation, it's comfortable and friendly. Change to the slow zoom and it becomes an intense conversation, but one in which both parties are intense. Their conversation becomes important, but both characters are active and intense in the scene. While it could be an argument, it tends to be more neutral seriousness, perhaps the details of a deal or plan. In a romance it could be the romantic connection being made. Even here it could be friendship growing.
But go back to the way it's done (zoom in/track back - the background helps give that away), and the situation becomes very odd. It feels discomforting to many people to even see such a shot, almost inducing dizziness. That makes this typical moment (though the voice over tells us differently too) very non-typical. It is intense in a way that is out of control. It makes the DeNiro/Liotta friendship feel suddenly wrong, bad even.
Were it just the zoom then Liotta maintains control, perhaps even dominance of the situation in our minds. After all the VO effect tells us that he knows all the angles, he is on top of it. Add the slow zoom to that and you have Pacino in the Godfather getting ready for his counter-attack right under the nose of his enemy. He becomes the most dangerous element.
Instead, the situation is out of his control and that shot gives us that feeling. We literally might even want to reach out and stop the camera from doing this odd movement to regain control ourselves.
So Liotta knows what's going on, but he has no idea how to handle it.
Slow zoom in usually represents inner thought for the character in focus or perhaps them feeling intensity or pressure in the moment. Sometimes it can be to intensify the person with the audience, usually if the character is speaking, but this is also often done with an inward tracking shot instead.
By adding the reverse tracking (zoom in/track out or vice versa) the element of thought or intensity remains, but it is now spiced with discomfort, estrangement, a sense of uneasiness.
This is the language of film, of course. I'm sure many of the readers in this thread are more attuned to it than the average viewer, but I think sometimes the casual fan might disregard a notion such as "language of film" as some pompous arty BS idea.
But it's not. The conventions of certain shots and techniques become almost phrases and idioms that all viewers come to understand instinctively.
In this case think about the effect of switching to a normal zoom. You have a two shot of DeNiro and Liotta, a typical conversation/situation for the characters to normally be in, and a typical type of shot for such a normal conversation. The conversation, the bond, the interaction is the center of the frame at this point, before switching to 180 degree cuts back and forth between talking close ups.
So if the film sits static, it's just a conversation, it's comfortable and friendly. Change to the slow zoom and it becomes an intense conversation, but one in which both parties are intense. Their conversation becomes important, but both characters are active and intense in the scene. While it could be an argument, it tends to be more neutral seriousness, perhaps the details of a deal or plan. In a romance it could be the romantic connection being made. Even here it could be friendship growing.
But go back to the way it's done (zoom in/track back - the background helps give that away), and the situation becomes very odd. It feels discomforting to many people to even see such a shot, almost inducing dizziness. That makes this typical moment (though the voice over tells us differently too) very non-typical. It is intense in a way that is out of control. It makes the DeNiro/Liotta friendship feel suddenly wrong, bad even.
Were it just the zoom then Liotta maintains control, perhaps even dominance of the situation in our minds. After all the VO effect tells us that he knows all the angles, he is on top of it. Add the slow zoom to that and you have Pacino in the Godfather getting ready for his counter-attack right under the nose of his enemy. He becomes the most dangerous element.
Instead, the situation is out of his control and that shot gives us that feeling. We literally might even want to reach out and stop the camera from doing this odd movement to regain control ourselves.
So Liotta knows what's going on, but he has no idea how to handle it.