What can you think of ? I have no idea right now. Generally I'd say zooms are tricky to use as they can easily feel tacky, especially the cliche fast zoom in someone's face. It's relatively rare to see an elegant fast zoom.

Stanley Kubrick

>>2
Oh you're right. I remember quick zooms on Alex's and the The Shining's kid's faces that worked to great effect. And of course the one at the start of A Clockwork Orange is one of the best in the history of cinema.

I want to say that there were zooms in Eyes Wide Shut as well.

And Barry Lyndon has more zooms than any of his films.

Avatar had like two good ones, very natural-looking.

Wes Anderson, specifically TGBH, and I just watched my first Bergman film, Persona, and it had excellent zooms.

Zooms aren't that tough if you have a shred of talent. Hm... In'resting.

Anyway, Hitchcock was good at it. He did come up with the reverse-tracking, after all. Orson Welles was pretty good at zooming, too.

Yeah I was inspired by Hitchcock to have a Vertigo effect in my short. It's only around 2 seconds long and not as noticeable as the Vertigo or Jaws ones. It's hard to do better with just a skateboard and camcorder. But it gives a nice effect of entering someone's brain.

Wouldn't that be a little too shaky? I'd just hold the camera and move forward while zooming out.

>>10
No it was okay. The camera is close to the ground (as it's done on my dog's face), and having it on the skateboard helps having the face stay in the same position in the frame.

>>11
But the wheels would make the camera bounce.

Just keep the camera stationery and move the entire earth on a skateboard, on books. Like the new wave and Nolan did.

I got told off for using the zoom. "Can you eyes zoom?", the tutor asked. I said yes.

Visconti
Tarkovsky
Kubrick

Robert Altman usually has lots of exquisite zooms in his films.

Someone mentioned Altman already. He's the guy I think of when I think of zooms. Roberto Rossellini also makes great use of them.

>>14
I was told that very same thing about zooming, and I don't agree either.

There is a nice zoom in The Exorcist, when Kinderman talks with Chris about the death of Dennings. The film cuts between Kinderman talking and Chris listening, zooming in very slowly. Once Kinderman gets to the crux of the matter, the process is reversed: we begin to zoom out until the moment has played out.

I like fast zooms when they are meant to emphasize a detail in the background instead of somebody's facial expression. For example, to reveal somebody is being followed.

I know. The guy was a dick. Strictly speaking, your eyes don't edit either so everything would be in one take if we we were restricted to only what our eyes can do.

Indeed. I think he needs to stop doing film stuff and do stage stuff. It seems to fit his crazy ideas.

The guy had worked in tv since the 70s so it was probably taught to him by someone who never had zoom lens.

Robert Altman usually has lots of exquisite zooms in his films.

>>21
Someone mentioned Altman already. He's the guy I think of when I think of zooms. Roberto Rossellini also makes great use of them.

Robert Altman is the certified king of zooming.

There's not enough zooming in films anymore.

Can't think of any specific director that I would choose, but individual shot, I'd go for Spielberg's reverse tracking zoom in Jaws