The Dolly Zoom and Aerial Videography

The dolly zoom  or the "Hitchcock zoom" is a camera technique developed by Irmin Roberts, a second unit cameraman at Paramount and is used in a variety of television and movie productions. Perhaps best know from Alfred Htichcocks film Vertigo, there are a number of other notable examples  in more recent productions. Shown in this clip from Vertigo  (starting at 2:04) the dolly zoom is an effect used to heighten tension in scene by inducing a feeling of "falling-away-from-oneself" or creating a feeling of unreality by distorting the perspective of the viewer. A more technically correct description of the technique is zoom in/dolly out or forward zoom/reverse track. But this description may be reversed and used as zoom out/dolly in or reverse zoom/forward track. This reversed application of the dolly zoom technique is applicable to trike videos and may be used to highlight a particular view while in flight.

The idea is that in a scene with a clearly defined foreground, midground, and background the foregroun/midground is held constant while the background moves away from the viewer. As originally concieved this technique requires a ground based camera on a dolly and the zoom adjusted as the camera moves in or out to create the effect. With an aircraft mounted video camera forward motion is a constant and it is difficult to correctly manipulate the zoom while piloting the aircraft, so it falls to post production processing to create the effect. In post production it is a simple matter to ramp the zoom (in or out) at a rate that holds the foreground/midground stable while allowing the background to fall away.

The video at this link, and shown below, shows 3 examples of the dolly zoom effect using an aircraft mounted video.  The 3 examples start at 1:07 (flying through saddle), 1:29 (flying through a rock outcrop), and 2:05 (runway view upon landing). This is an anaglyph video (3D video requiring glasses with the red lens on the left, green on right) and without glasses there is somewhat more distortion, but the effect is still obvious.

In the first example the bottom edge of the foreground holds while the background falls away as the aircraft passes through the saddle. In the second example the foreground again holds while the background as viewed through the outcrop falls away from the viewer. In final example the zoom is moved in and then out which shortens then lengthens the view of the runway while landing.

Distorting the perspective of the viewer is just one more tool the flying videographer may use to impart their feelings while piloting a trike.

Sky Surfing: Flying in 3D (anaglyph Video) Short Version - Funny blooper videos are here

A New Video from Sky Gypsies Studios

Started testing new camera mounts of the Air Creation 582 Buggy.  With the TFR along the edge of the property patterns are currently flown to the east of the Painted Pony Resort.  Below is the first test of the GoPro camera mounted on the wing tip.  The nice light illuminating the scene is the result of smoke from the fire in the Chiricahua Mountains which at times is filtering the sun light.



flying on the edge by BAlvarius

Chiricahua Mountains Flyby

Reproducing what a weight shift control light sport aircraft pilot sees while flying can be difficult. Video cameras produce 2 dimensional images but humans are 3 dimensional creatures and aviation is a 3 dimensional activity. It is possible to create 3 dimensional videos using a variety of techniques but viewing these videos requires special glasses.  Apparent depth in a 2 dimensional video can be increased in several ways allowing the viewer a more 3 dimensional experience without resorting to special glasses.

Two techniques for increasing depth in an aviation video are:
1.  Relative motion
2.  Brightness and contrast

Relative motion, when objects in the foreground move at different rates relative to objects in the background.  The difference in relative movement tends to separate objects in the video giving an appearance of increased depth.  Straight edges in the foreground tend to enhance this effect.  In the case of the video below, the camera is fixed to the wingtip and there is no motion of the aircraft and long straight edges along the wing.

Brightness and contrast, by differentially increasing the brightness and contrast of the foreground object (the aircraft) it lifts this part of the image away from the background mountains increasing apparent depth.  To accomplish this aspect of post production the video was duplicated and in one copy the aircraft was masked and in the other the background was masked.  The brightness and contrast were increased in the copy where the background was masked and the 2 copies composited to produce a final version where the trike was brighter and contrast increased relative to the background mountains.  This modification also increases the apparent difference in relative motion reinforcing the increased appearance of depth.

In the video below, the original video is shown in an inset box at the lower right while the full screen view is the modified video.  Note how increasing the brightness and contrast in combination with the relative motion of aircraft against the mountains has an increased appearance of depth especially along the wing edges.

Thinking about work or play

Here is the first video created at the Painted Pony Resort. It has taken awhile to get things up and running and this is the first chance to create a new video here. Two cameras were used in filming, a Canon Vixia HF100 with a partial fish eye lens was used for the reverse and side views while a GoPro sports camera which has a 170 degree field of view (in the default setting) was used for the wingtip and control bar shots. The stability of the GoPro is good and the mounting is straight forward. It is important to note that the wider the lens the further back everything in the field of view appears, so one has to be right on top of a subject to get a close up and create the appearance of jeopardy. The balance between lens choice and the apparent distance to the subject is tricky and sometimes takes several attempts to get the right look.




you can also view the video at Youtube or at Trike Pilot Social

The Art Race Hurtle 5- The Aftermath

Well time past and I was pursuing other projects. I had gotten myself and the aircraft back to the Sky Gypsies complex at Amigos del Cielo Airpark but I had heard nothing from Clare recently, I knew the show was finished and cut so I decided to check the web for the status of the show. To my amazement the VROOM network and Gallery HD was closing down. Bummer, all that work and the show was not going to air????? Well I thought "I tried".

But good news, another network picked up the show. I found that Treasure HD picked up the Art Race and is airing it now. Although it has already started, anyone with a TV which receives this station, please watch and report back here.

The Art Race Hurdle 4 - The Flight

I wanted to take off at sunrise and asked that Ben arrive before sunrise so we could finish any last minute preparations and preflight. Clare and the film crew assured me they would arrive early on Monday for the flight to Columbus New Mexico. I had an open invitation at the First Aero Squadron Airpark north of Columbus and had tried calling my contact their but was unable to reach anyone. So we were going to fly in unannounced, no problem. I spent Sunday evening prepping the aircraft for the flight, making sure everything was in order paying close attention to the weather, it looked good. Monday morning and I’m up well before dawn, cup of coffee in hand standing in the open hanger. No Ben, so I wait. Finally at 7:00 AM well after sunrise the car with Ben appears. "The crew would like a little more footage and want to follow our route and film from the moving vehicle". I said "ok" there was a place in the next valley that would work for some traveling shots. I explained our route, it was along highway 9 from the Sky Gypsies complex at Amigos del Cielo airpark to Columbus. I gave directions on how to get on highway 9 (go to the north end of the airpark and turn right then straight for 90 miles).

They left and Ben and I finished gearing up and we started out. I took off, climbed to 500’ intersected highway 9 and turned east. Neither of us could see the film crew’s vehicle. We Flew on hoping to find them somewhere, no luck, they missed the turn onto highway 9. Since it was a clam morning I turned the controls over to Ben and let him fly the aircraft while I watched the scenery. The air was perfect a calm clear morning. There were winds at altitude but I figured we would be below them the whole trip. We flew along passing the occasional boarder patrol vehicle or outpost and waved. As we came within sight of Columbus we were hit with a wall of wind. A nasty cross wind from the north had descended to our altitude so I dropped down lower and lower trying to get out of the winds. This was turning into an Aerotrekking adventure trying to stay out of the winds but we were running out of sky and I did not want to be anywhere close to the ground yet in these winds. So I advised Ben to just hang on it was only 10 minutes or so to the First Aero Squadron Airpark. I added power and pulled in on the bar to increase speed and headed to Columbus. Once arriving I flew on the south side around the town and up the east side to the Airpark. Of course the runways were east/west affairs meaning we would have the cross wind for landing. It was blowing 15-20 all the way down, I lined up north of the runway and started reducing power pulling the bar all the way back, I wanted as much energy as possible for landing. I told Ben the wing would be a handful once the wheels touched down so would he help hold the wing level once we touched down. He agreed, I think he wanted to be back on the ground as quickly as possible. So down we went, the cross wind blowing us sideways over the runway as I got into ground effect. I touched down and we both held onto the wing. I let us roll to a stop and began looking for somebody but everything was buttoned up for the winds. We taxied to the road running between the 2 runways and turned down wind taking away a lot of the struggle with the wing. About that time one of the local residents came rolling up in his truck to say hi, “you flew in in this?” Yea, no choice I wasn’t turning around. We got the aircraft into the lee side of a hanger and started waiting for the film crew to arrive. Ben started explaining the Art Race and what he was doing. About that time the film crew showed up and there were introductions all around. First Aero Squardon Airpark is a great place, everyone fly’s and one guy creates aerial sculpture, mobiles and huge things that rotate in the wind. Needless to say all the sculpture was in motion. Ben quickly got a ride into town and we said goodbye. I was tired. Clare thanked me and said she would let me know the airing dates of the show.

Next Hurtle 5 - The Aftermath

The Art Race - The 2nd Hurtle - Who Runs The Show?

So the next morning the film crew arrives with Ben who had found a place to stay in Portal. We did all the setups and filmed like it was the day of the flight. Then we went flying. They wanted to set up on the runway to get some flying shots and the suggestions started. I explained that when I turn the key I’m responsible and pilot in command so I make the decisions. Ooooppps, this initially did not go over to well, but when I explained about some of the other directors who had filmed here and what some of their requests had been then the problems associated with complying they began to get the picture, directors want to kill pilots. So I explained what I could do for them, I could place the aircraft in front of their camera in a number of different ways that would look cool from their perspective but I would always have full control and not put anyone at risk. It was a polite way of saying "yes I want to make your vision a reality but I would like to live through the experience please". I kept repeating, “if we do this right everybody lives and you get the shots you want, we do this wrong and everybody dies, the FAA becomes involved, there will be gnashing of teeth, then ashes and sack clothes for everyone left alive“. They asked where they could set up for filming and we choose several spots where they could get cool shots and everyone would be safe, second hurtle passed.

Ben did well and adapted quickly and soon he was flying from the backseat using the instructors bars. No cross controlling or over controlling he did quite well. He could hold straight and level flight for several minutes. I flew us past the camera along the runway in a series of low passes creating a number of different poses with us and the aircraft. When we landed after an hour of flying everyone was happy. The camera guy got what he wanted, Ben got a flight lesson, I was safe the whole time, and finally I brought the artist back. I’m sure Clare was relieved.

Next - The Trade

Hard Work Does Pay Off… eventually….I think….maybe. Weight Shift Aircraft in The Art Race

We’ve done our share of television and filming here and one thing is consistent, directors want to kill pilots…. They don’t have an understanding of aviation or what is safe in an aircraft. They politely ask over and over “can you do this please” meaning fly straight at that cliff through the rotors then at the last moment pull up and climb at over 2000’ minute and clear the top of the cliff by 2 feet. Of course what they think will look cool and what really looks cool are 2 different things. It was with that in mind that one day a fellow came into the hanger where I was working, he introduced himself as Ben Sargent an artist from New York. Behind him several others were approaching, one Clare Bradbury turned out to be the producer and with her were a sound and camera guy. Ben was part of the Art Race being filmed by Illuminations media out of the UK. He wanted to know if I was willing to trade a flight carrying him on his eastward trek for some artwork? I replied that I was pretty sure we could work something out. So I asked “is the show sold?” and Clare relied yes it was sold to the VROOM cable network and would appear on their channel Gallery HD. Great, so down to business. Their idea was that I would fly Ben to some point east helping him cross the country and he would create some artwork in trade. They wanted to show up on the day of the flight and film and follow us east. Well, mixing filming and the actual flight was not a good idea. To many variables and things that can go wrong so I said no it would be better if all the filming was done on one day, then the day of the flight they just drop Ben off and I ferry him to Columbus 90 miles east. I explained that we needed at least 1 introductory lesson to familiarize him with weight shift control aircraft. In return I would strap on a wing mount camera and collect some footage they could include. They agreed, first hurdle past.

Next - Who Runs The Show?

Aerial videography from weight shift control (WSC) aircraft

Probably the most important thing I have learned about aerial videography is the importance of relative motion. That is understanding how objects move relative to one another in a scene while flying, then capturing that on video. Just as aerial still photography requires an emphasis on composition, aerial videography requires thinking about composition through time and how all the objects in the frame will look moving relative to one another.

The first step in understanding relative motion is camera placement. The advantage of taking video from WSC aircraft, or any ultralight trike for that matter, is realizing that there are lots of places to mount a camera and the effect you want will dictate the mounting position. If the camera is a passive observer in the scene then stability is required and mounting on the control bar or an element of the wing provides the most stability. If the camera is an active participant in the scene then mounting on carriage or front tube adds some movement during video recording which helps make the viewer part of the action. There are 2 videos where different camera placement was the goal of the exercise.

Learning to Aerotrekk had 10 camera placements and focused on demonstrating a low pass from the pilots perspective.


Personal Protection based on the 1950's Duck and Cover also had 10 camera placements and compares control bar and wing mounting versus carriage mounted views.