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* In the first ''Film/MissionImpossible'' movie, there's an epic helicopter shot that pulls up to the Chunnel Train, then through a window into a compartment. There's a similar shot in ''The Birdcage'', starting actoss the ocean, up to Miami Beach, then uninterrupted into Robin William's club.

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* In the first ''Film/MissionImpossible'' movie, ''[[Film/MissionImpossible1996 Mission: Impossible]]'', there's an epic helicopter shot that pulls up to the Chunnel Train, then through a window into a compartment. There's a similar shot in ''The Birdcage'', starting actoss the ocean, up to Miami Beach, then uninterrupted into Robin William's club.
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* Godard was a big fan of the long tracking shot. It's evident in his early work. In ''Film/{{Contempt}}'', there's an early shot of the characters walking outside the studio space talking with the American producer that lasts for some 6 minutes - but most famously in his late 1960's film ''Film/Weekend1967'' which opens with a stunning tracking shot of the protagonists driving around traffic which lasts for more than 10 minutes.

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* Godard Creator/JeanLucGodard was a big fan of the long tracking shot. It's evident in his early work. In ''Film/{{Contempt}}'', there's an early shot of the characters walking outside the studio space talking with the American producer that lasts for some 6 minutes - but most famously in his late 1960's film ''Film/Weekend1967'' which opens with a stunning tracking shot of the protagonists driving around traffic which lasts for more than 10 minutes.
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[[folder:Film - Animated ]]

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[[folder:Film - Animated ]][[folder:Films -- Animation]]



[[folder:Film - Live Action]]

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[[folder:Film - Live Action]][[folder:Films -- Live-Action]]
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* Phasing through objects like windows, walls and floors.
* Shifting between wide tracking shots and close up handheld.
* Passing through metaphysical items like a tv screen or electrical wiring.

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* # Phasing through objects like windows, walls walls, and floors.
* # Shifting between wide tracking shots and close up close-up handheld.
* # Passing through metaphysical items like a tv TV screen or electrical wiring.



AstronomicZoom is a subtrope of this. Sister trope of ObjectTrackingShot.

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AstronomicZoom is a subtrope SuperTrope of this. Sister trope AstronomicZoom. SisterTrope of ObjectTrackingShot.
ObjectTrackingShot. SubTrope of TrackingShot.
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** In ''Series/StarTrekTheNextGeneration'' they would visually "cheat" the image by pulling out only part way, then cut to the approximate area of the ship. In later series as CG became more cost effective, they would do it uninterrupted.\\

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** In ''Series/StarTrekTheNextGeneration'' they would visually "cheat" the image by pulling out only part way, then cut to the approximate area of the ship. In later series as CG became more cost effective, they would do it uninterrupted.\\
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* A classic example is seen at the start of ''Film/TheLordOfTheRingsTheTwoTowers''.

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* A classic example is seen at the start of ''Film/TheLordOfTheRingsTheTwoTowers''. The camera starts with a [[SceneryPorn glorious aerial shot of the Misty Mountains]], then abruptly dives ''through'' the rock to focus on the confrontation between Gandalf and the Balrog (previously seen from a different angle in the first movie), and then tracks with them through [[spoiler: their falling fight into the depths of Khazad-dum]].

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* Creator/AlfredHitchcock's ''Young and Innocent'' reveals that the real murderer has an eye twitch, then does a slow, dramatic tracking shot from the lobby ceiling of the hotel, through the dancer-filled ballroom, and up to a close-up of the eyes of the blackface orchestra drummer. No points guessing what his eye does. (Although when you consider that the actor had a big, heavy camera rushing toward him, needing to stop just inches from his face, maybe the eye twitch didn't involve much acting.)
** Hitchcock's ''Film/{{Notorious|1946}}'' similarly used a shot over a party in a large mansion, with the camera swooping in from a balcony, coming over the crowd, and finally closing in on a tight shot of a key in a person's hand.

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* Creator/AlfredHitchcock's ''Young and Innocent'' ''Film/YoungAndInnocent'' reveals that the real murderer has an eye twitch, then does a slow, dramatic tracking shot from the lobby ceiling of the hotel, through the dancer-filled ballroom, and up to a close-up of the eyes of the blackface orchestra drummer. No points guessing what his eye does. (Although when you consider that the actor had a big, heavy camera rushing toward him, needing to stop just inches from his face, maybe the eye twitch didn't involve much acting.)
**
) Hitchcock's ''Film/{{Notorious|1946}}'' similarly used a shot over a party in a large mansion, with the camera swooping in from a balcony, coming over the crowd, and finally closing in on a tight shot of a key in a person's hand.
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* There's a literary example in John Sladek's novel ''Roderick'', where the title character (a robot boy) lets his newly-repaired eye do a long pan over a street scene, revealing all of the muggers, petty thieves, drug dealers, whores and other vices that his human 'mother' fails to notice.

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* There's a literary example in John Sladek's novel ''Roderick'', ''Literature/{{Roderick}}'', where the title character (a robot boy) lets his newly-repaired eye do a long pan over a street scene, revealing all of the muggers, petty thieves, drug dealers, whores and other vices that his human 'mother' fails to notice.
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* ''Series/BetterCallSaul'' has several epic tracking shots throughout its run, including a 4 minute long continuous shot in the Season 2 Episode 8 intro.

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Braveheart is in the wrong folder


* ''Film/{{Braveheart}}'' opens with a camera flight over costal water after which the rough Scottish mountain landscape comes into view.


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* ''Film/{{Braveheart}}'' opens with a camera flight over costal water after which the rough Scottish mountain landscape comes into view.
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* ''Series/KamenRiderFourze'' pulls this out occasionally. Whenever Gentaro starts his CatchPhrase, it'll soon zoom out to a view of Earth along with the sun, moon and other planets then zooms in back on Gentaro finishing it. It also grows and evolves each time, until it eventually zooms out on ''the entire universe''. In TheMovie, where he borrows [[SixthRanger Meteor]]'s power, it shows ''two'' universes, each one colored to represent the two Riders. In ''Heisei Generations FINAL'', during which a villain tries to forcibly merge the [[Series/KamenRiderExAid Ex-Aid]] and [[Series/KamenRiderBuild Build]] universes, Gentaro's tracking shot shows the two Earths side-by-side.

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* ''Series/KamenRiderFourze'' pulls this out occasionally. Whenever Gentaro starts his CatchPhrase, catchphrase, it'll soon zoom out to a view of Earth along with the sun, moon and other planets then zooms in back on Gentaro finishing it. It also grows and evolves each time, until it eventually zooms out on ''the entire universe''. In TheMovie, where he borrows [[SixthRanger Meteor]]'s power, it shows ''two'' universes, each one colored to represent the two Riders. In ''Heisei Generations FINAL'', during which a villain tries to forcibly merge the [[Series/KamenRiderExAid Ex-Aid]] and [[Series/KamenRiderBuild Build]] universes, Gentaro's tracking shot shows the two Earths side-by-side.
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** Film/{{Transformers}} and following the Allspark to Earth.

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** Film/{{Transformers}} Quite common in ''Film/Transformers2007'' and following the Allspark to Earth.Earth at the beginning of the film.
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* ''Series/NovolandEagleFlag'': The shot as Ji Ye and Yu Ran lead Asule through the battle. It's a minute long and follows the protagonists as well as the fighting around them.
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* ''Film/{{Wings}}'', which was made in 1927 and won the first ever Best Picture Oscar in 1928, introduces scenes set in the Folies Bergere with the camera coming down from the ceiling, tracking across four separate tables (at which characters enact a quick scene) before finally revealing the lead character (who is getting very drunk) and finishing on a close-up of more champagne being poured. The mechanics of the shot involved a complicated rig for its time, crew members pulling out the tables as soon as it was out of camera view and timing the movement of the extras precisely.

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* ''Film/{{Wings}}'', ''Film/{{Wings|1927}}'', which was made in 1927 and won the first ever Best Picture Oscar in 1928, introduces scenes set in the Folies Bergere with the camera coming down from the ceiling, tracking across four separate tables (at which characters enact a quick scene) before finally revealing the lead character (who is getting very drunk) and finishing on a close-up of more champagne being poured. The mechanics of the shot involved a complicated rig for its time, crew members pulling out the tables as soon as it was out of camera view and timing the movement of the extras precisely.
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* In ''WesternAnimation/TurningRed'', when 4*Town starts singing "Nobody but U" in the climax, the shot starts looking up from below them, spirals upward, zooms in on Robaire, zooms out to catch the ritual circle starting to activate, then follows the activation sequence until it reaches Mei and her relatives. According to the director's commentary that was originally three shots that were combined.

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* In ''WesternAnimation/TheAdventuresOfTintin2011'', there is the the [[https://youtu.be/3mVpZTGCikM?t=2m9s chase scene in Bagghar,]] from the point where Snowy jumps into the car, to the point where Tintin catches the falcon by the dock, all done as a single shot, over two and a half minutes long. And it's an action scene following multiple characters across an entire city.
* A not overly epic but still nice-looking one occurs in ''WesternAnimation/{{Bionicle}}: Mask of Light'', as the cam starts out at a waterfall, flies up to and across the Kini-Nui temple, then over the bridge to the Amaja-Nui sandpit where Gali's meditating. Perhaps to make it seem more grandiose, the temple has been re-imagined as resting atop a smaller mountain peak, and the surrounding elevated jungle replaced with mountains, a river deep down, and the waterfall.



* A particularly impressive shot was used for ''WesternAnimation/TreasurePlanet''. You see a crescent moon in the sky and when the characters talk of going to the spaceport the camera then zooms towards the moon and as it gets bigger you see more details and eventually notice that [[ThatsNoMoon it isn't a moon]], but the spaceport itself shaped like a crescent moon.



* ''WesternAnimation/FindingNemo'' has a fast-paced one showing Gil's plan to escape the fish tank. Noted on the DVDCommentary because such shots are rarely used at Pixar; they prefer to stick to normal camera moves for the sake of relatability.



* ''WesternAnimation/TheRescuersDownUnder'' opens with the camera flying for miles at high speed from a ladybug on a blade of grass to Cody's bedroom.

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* ''WesternAnimation/TheRescuersDownUnder'' opens with ''WesternAnimation/PenguinsOfMadagascar'' has a scene in which the camera flying for miles at high speed penguins break out of a cargo plane in midflight, break into a passenger plane, then break out and board a second plane only to break out of that one, and finally take a bouncy castle from a ladybug on a blade of grass the falling cargo and inflate it to Cody's bedroom.break their fall, all done in one uninterrupted shot.



* In ''WesternAnimation/ThePolarExpress'' a very long tracking shot follows the girl's ticket after the boy loses it from the train until it returns to the train.



* ''WesternAnimation/TheRescuersDownUnder'' opens with the camera flying for miles at high speed from a ladybug on a blade of grass to Cody's bedroom.
* ''Anime/SummerWars'' features multiple complex tracking shots while in its virtual reality landscape of OZ, aided by seamlessly blending 2D and 3D animation. The longest of these sequences is the [[https://youtu.be/kPTfdO5hQUw introduction of OZ itself]], which takes the viewer from the login screen to the farthest reaches of OZ in the span of several nearly unbroken continuous tracking shots.



* In ''WesternAnimation/TheAdventuresOfTintin2011'', there is the the [[https://youtu.be/3mVpZTGCikM?t=2m9s chase scene in Bagghar,]] from the point where Snowy jumps into the car, to the point where Tintin catches the falcon by the dock, all done as a single shot, over two and a half minutes long. And it's an action scene following multiple characters across an entire city.
* A not overly epic but still nice-looking one occurs in ''WesternAnimation/{{Bionicle}}: Mask of Light'', as the cam starts out at a waterfall, flies up to and across the Kini-Nui temple, then over the bridge to the Amaja-Nui sandpit where Gali's meditating. Perhaps to make it seem more grandiose, the temple has been re-imagined as resting atop a smaller mountain peak, and the surrounding elevated jungle replaced with mountains, a river deep down, and the waterfall.

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* In ''WesternAnimation/TheAdventuresOfTintin2011'', there is A particularly impressive shot was used for ''WesternAnimation/TreasurePlanet''. You see a crescent moon in the sky and when the [[https://youtu.be/3mVpZTGCikM?t=2m9s chase scene in Bagghar,]] from the point where Snowy jumps into the car, to the point where Tintin catches the falcon by the dock, all done as a single shot, over two and a half minutes long. And it's an action scene following multiple characters across an entire city.
* A not overly epic but still nice-looking one occurs in ''WesternAnimation/{{Bionicle}}: Mask
talk of Light'', as the cam starts out at a waterfall, flies up to and across the Kini-Nui temple, then over the bridge going to the Amaja-Nui sandpit where Gali's meditating. Perhaps to make spaceport the camera then zooms towards the moon and as it seem gets bigger you see more grandiose, details and eventually notice that [[ThatsNoMoon it isn't a moon]], but the temple has been re-imagined as resting atop spaceport itself shaped like a smaller mountain peak, and the surrounding elevated jungle replaced with mountains, a river deep down, and the waterfall.crescent moon.



* ''WesternAnimation/FindingNemo'' has a fast-paced one showing Gil's plan to escape the fish tank. Noted on the DVDCommentary because such shots are rarely used at Pixar; they prefer to stick to normal camera moves for the sake of relatability.
* ''WesternAnimation/PenguinsOfMadagascar'' has a scene in which the penguins break out of a cargo plane in midflight, break into a passenger plane, then break out and board a second plane only to break out of that one, and finally take a bouncy castle from the falling cargo and inflate it to break their fall, all done in one uninterrupted shot.
* In ''WesternAnimation/ThePolarExpress'' a very long tracking shot follows the girl's ticket after the boy loses it from the train until it returns to the train.
* ''Anime/SummerWars'' features multiple complex tracking shots while in its virtual reality landscape of OZ, aided by seamlessly blending 2D and 3D animation. The longest of these sequences is the [[https://www.youtube.com/watch?v=kPTfdO5hQUw introduction of OZ itself]], which takes the viewer from the login screen to the farthest reaches of OZ in the span of several nearly unbroken continuous tracking shots.



* The silent film ''Film/{{Sunrise}}'', and its director F.W. Murnau, were largely responsible for introducing this trope to Hollywood. Murnau had already been doing this earlier in the 20s, back in Germany. ''Film/TheLastLaugh'' opens with an Epic Tracking Shot out an elevator, through a hotel lobby, and out a door, accomplished by putting a camera in a wheelchair.
* Used to dizzying effect in the 1964 Communist propaganda film ''Film/IAmCuba''. Tracking shots zoom all around a number of set-pieces, including a [[https://www.youtube.com/watch?v=0BhMGrdA2Ag decadent pool party]] (dipping beneath the water at one point) and [[https://www.youtube.com/watch?v=u91Oxyv5U-o among rooftop rebel bases]]. The shots span such a distance that they required the camera to be handed from operator to operator to navigate the terrain.
* ''Film/BoogieNights'' has a very impressive tracking shot that pans through a party scene and eventually winds up underwater, referencing a similar scene in ''Film/IAmCuba''.
* ''Franchise/MarvelCinematicUniverse'':
** ''Film/TheAvengers2012'':
*** During the Battle of New York, this shot starts with Black Widow on the back of a Chitauri on a flying sled, controlling him. Iron Man flies by her and he blasts a couple of aliens on the ground. He lands next to and fights alongside Captain America, then flies up the side of a building where Hawkeye is on the roof fighting off aliens. Hawkeye shoots an arrow and the camera follows it as it hits a Chitauri sled. It falls and a leviathan passes by where the Hulk and Thor are on it fighting aliens. The Hulk stabs the leviathan with a big piece of debris, and Thor hammers it in. This brings the leviathan crashing into Grand Central Station. Then MoodWhiplash sets in when [[spoiler: The Hulk punches Thor off the Leviathan's corpse.]]
*** There's also the scene in the Helicarrier where the camera circles the Avengers arguing before moving on to Loki's scepter and then flipping ''upside down'' to have the scepter in the foreground and the Avengers inverted in the background.
** ''Film/ThorRagnarok:'' When Loki and Valkyrie walk up to the Grandmaster, the camera dives into their reflection on the floor up to revealing the Grandmaster. Creator/TaikaWaititi himself called the shot, that was developed by a storyboard artist, "one of the greatest shots in the history of cinema".
* ''Film/BirdmanOrTheUnexpectedVirtueOfIgnorance'': The entire film is shot and edited to look like a single, uninterrupted take (it isn't, however).
* In the first ''Film/MissionImpossible'' movie, there's an epic helicopter shot that pulls up to the Chunnel Train, then through a window into a compartment. There's a similar shot in ''The Birdcage'', starting actoss the ocean, up to Miami Beach, then uninterrupted into Robin William's club.
* A classic example is seen at the start of ''Film/TheLordOfTheRingsTheTwoTowers''.
* ''Film/StarTrekFirstContact'' began almost inside Captain Picards eye, then progressively pulled back to show how massive the Borg complex was. A later moment in the movie begins with a view of the Enterprise, then travels underneath the saucer section to focus on a couple of people emerging in space suits to walk across the hull. It gives a real sense of size to the ship.
* Creator/DavidFincher loves doing this, like the garbage can in ''Film/FightClub'' or running the camera through the entire house (including going through walls and through ''the handle of a coffee pot'') in ''Film/PanicRoom''.



* The end of ''Film/ResidentEvil2002'' has a particularly good one involving Alice pulling out a shotgun from a police car and cocking it determinedly, and then pulling slowly out revealing a completely devastated Raccoon City.
* ''Film/MenInBlack'' ends with an epic tracking shot by starting with an overhead of J and L, then pulling away to [[AstronomicZoom see the Earth, continuing on past the solar system and the galaxy to show that our galaxy is simply a marble in a giant alien's hand]], much like the MacGuffin of the film.
* ''Film/ForrestGump''
** The film starts with a ObjectTrackingShot of a feather in the middle of the sky. The camera follows it as it passes through a park, lands on a man's shoulder, goes above a car and under a second one then finally the feather falls right on the main character's shoes. He then picks it up and puts it in a book.
** In the end, the feather starts from between Gump's shoes, flies into the sky (while still showing the main character for a while) and the feather starts dancing in the air before it turns and ''hit'' the camera.
* ''Film/HarryPotter'' films:
** ''Film/HarryPotterAndThePrisonerOfAzkaban'' had a couple of shots that went ''through'' the numerous, moving, DeathTrap-esque clock gears, through the closed window and into the courtyard.
** The [[Film/HarryPotterAndTheChamberOfSecrets second film]] has a shot which starts with a distant shot of Hogwarts and zooms in through the roof of the greenhouse, revealing Professor Sprout starting the Herbology class.
* Also TheOner, action movie ''[[Film/TomYumGoong Tom Yum Goong /The Protector/ Warrior King]]'' features a four-minute one-shot elaborate fight sequence that reportedly took eight days to get right in which Tony Jaa fights his way up a building.
* One scene in the original ''Film/TotalRecall1990'' has several villains walking around inside an abandoned alien base. At the end the camera pulls back (via special effects) to reveal the incredible size of the base.
%%* Several in ''Film/{{Watchmen}}''.
* Used very memorably in ''Film/ChildrenOfMen'' during the climactic action sequence, though the shot in question was revealed to have been digitally stitched together.



** In ''Film/GoodFellas'', Henry and his girlfriend entering the back of the Copabana Club. [[https://www.youtube.com/watch?v=3Sr-vxVaY_M Watch it here]]

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** In ''Film/GoodFellas'', Henry and his girlfriend entering the back of the Copabana Club. [[https://www.youtube.com/watch?v=3Sr-vxVaY_M [[https://youtu.be/3Sr-vxVaY_M Watch it here]]



* In Creator/RobertAltman's ''Film/ThePlayer'', the opening tracking shot, which even has two film execs giving a Shout Out to ''Film/TouchOfEvil''.
* The Argentine film ''El secreto de sus ojos'' (The Secret in their Eyes) has a tracking shot that starts with an above view of a football (soccer) stadium during a match, then dives into the crowd to focus first on the policemen trying to spot a murder suspect among the fans, then on the suspect as he is seen by the police, and finally on a dizzying chase scene through the stairs and toilets of the stadium.
%%* The opening battle of ''Film/RevengeOfTheSith''.
* The final shot of ''Film/MinorityReport'', starts with a simple pull back from two of the precogs sitting in a room in a house, back through the house, out through the (closed) window, and away from the house [[FlyawayShot and up]].
* The ending of ''Film/TimeBandits'' has the camera pulling away from Kevin's house, up out into space, ending with a shot of the time hole map.
* The TropeMaker / TropeCodifier for AstronomicZoom, [[https://www.youtube.com/watch?v=0fKBhvDjuy0 short film]] ''Film/PowersOfTen'' by Charles and Ray Eames (1977). It starts with a picnic blanket in a park and pulls out, marking every time the distance has increased to a power of ten, until our entire galaxy is just a dot in space. Then, we zoom all the way in again and keep going until we get down to the structure of an atom.
* Godard was a big fan of the long tracking shot. It's evident in his early work. In ''Contempt'', there's an early shot of the characters walking outside the studio space talking with the American producer that lasts for some 6 minutes - but most famously in his late 1960's film ''Weekend'' which opens with a stunning tracking shot of the protagonists driving around traffic which lasts for more than 10 minutes.
* The opening shot of ''Film/{{Psycho}}'' was meant to be one with the camera panning through the city until it entered the hotel room Marion was having her affair in, but it was impossible to do with the technology of the time. Gus Van Sant's shot-for-shot remake actually does it.



* The remake of ''Film/TheTexasChainsawMassacre2003'', after the hitchhiker commits suicide: the camera starts on everyone's shocked reaction, then pulls back through the bullet wound, out the back of her head and the shattered rear windshield.
* ''Film/KillBill Vol. 1'' has a spectacular example of this which can be viewed [[https://www.youtube.com/watch?v=UFCb-iYTSg0 here]].
* Creator/AlfredHitchcock's ''Young and Innocent'' reveals that the real murderer has an eye twitch, then does a slow, dramatic tracking shot from the lobby ceiling of the hotel, through the dancer-filled ballroom, and up to a close-up of the eyes of the blackface orchestra drummer. No points guessing what his eye does. (Although when you consider that the actor had a big, heavy camera rushing toward him, needing to stop just inches from his face, maybe the eye twitch didn't involve much acting.)
** Hitchcock's ''Film/{{Notorious|1946}}'' similarly used a shot over a party in a large mansion, with the camera swooping in from a balcony, coming over the crowd, and finally closing in on a tight shot of a key in a person's hand.
* The film ''Film/RussianArk'', which is ''[[TheOner all one single tracking shot]]'', showing the museum's splendor.
* The title sequence of ''Film/SupermanReturns'' is one long tracking shot from Krypton to Earth. And it is ''[[SceneryPorn gorgeous.]]''
* The introduction to the crew in ''Film/{{Serenity}}'' takes the form of a huge {{Oner}} that follows Mal through the ship, past each crew member in turn. There's another later in the film, when [[spoiler: preparing to HoldTheLine against the Reavers in Mr. Universe's complex]]. According to the commentary, both shots were intended to give a sense of the space the action was shortly to take place in.

to:

* ''Film/BirdmanOrTheUnexpectedVirtueOfIgnorance'': The remake of ''Film/TheTexasChainsawMassacre2003'', after the hitchhiker commits suicide: the camera starts on everyone's shocked reaction, then pulls back through the bullet wound, out the back of her head entire film is shot and the shattered rear windshield.
edited to look like a single, uninterrupted take (it isn't, however).
* ''Film/KillBill Vol. 1'' ''Film/BoogieNights'' has a spectacular example of this which can be viewed [[https://www.youtube.com/watch?v=UFCb-iYTSg0 here]].
* Creator/AlfredHitchcock's ''Young and Innocent'' reveals that the real murderer has an eye twitch, then does a slow, dramatic
very impressive tracking shot from the lobby ceiling of the hotel, that pans through the dancer-filled ballroom, and up to a close-up of the eyes of the blackface orchestra drummer. No points guessing what his eye does. (Although when you consider that the actor had a big, heavy camera rushing toward him, needing to stop just inches from his face, maybe the eye twitch didn't involve much acting.)
** Hitchcock's ''Film/{{Notorious|1946}}'' similarly used a shot over
a party scene and eventually winds up underwater, referencing a similar scene in a large mansion, with ''Film/IAmCuba''.
* Used very memorably in ''Film/ChildrenOfMen'' during
the camera swooping in from a balcony, coming over climactic action sequence, though the crowd, and finally closing in on a tight shot of a key in a person's hand.
question was revealed to have been digitally stitched together.
* The film ''Film/RussianArk'', which is ''[[TheOner all one single tracking shot]]'', showing shot in ''Film/{{Contact}}'' of young Ellie [[https://youtu.be/Fxa3j8bK-c4 running up the museum's splendor.
stairs]] to fetch medication for her father who has collapsed.
* The title sequence Godard was a big fan of ''Film/SupermanReturns'' is one the long tracking shot. It's evident in his early work. In ''Film/{{Contempt}}'', there's an early shot from Krypton to Earth. And it is ''[[SceneryPorn gorgeous.]]''
* The introduction to
of the crew in ''Film/{{Serenity}}'' takes characters walking outside the form of a huge {{Oner}} studio space talking with the American producer that lasts for some 6 minutes - but most famously in his late 1960's film ''Film/Weekend1967'' which opens with a stunning tracking shot of the protagonists driving around traffic which lasts for more than 10 minutes.
* ''Film/TheCranesAreFlying'': When the scene starts, we are on a bus filming the female lead with a hand-held camera. Suddenly the bus stops and we follow the girl off the bus into a large crowd, and as we follow her as she makes her way though the crowd, frantically trying to get through, the camera
follows Mal her right to the edge of a parade of tanks, and as she tries to get across, the camera suddenly, totally expectingly, rises, as if on a crane, and shoots the parade as it approaches towards us below, and the girl runs off through the ship, past each crew member in turn. There's another later in the film, when [[spoiler: preparing to HoldTheLine against the Reavers in Mr. Universe's complex]]. According tanks to the commentary, both shots were intended to give a sense of the space the action was shortly to take place in.horizon.



* Creator/DavidFincher loves doing this, like the garbage can in ''Film/FightClub'' or running the camera through the entire house (including going through walls and through ''the handle of a coffee pot'') in ''Film/PanicRoom''.
* ''Film/ForrestGump''
** The film starts with a ObjectTrackingShot of a feather in the middle of the sky. The camera follows it as it passes through a park, lands on a man's shoulder, goes above a car and under a second one then finally the feather falls right on the main character's shoes. He then picks it up and puts it in a book.
** In the end, the feather starts from between Gump's shoes, flies into the sky (while still showing the main character for a while) and the feather starts dancing in the air before it turns and ''hit'' the camera.



* 1932 film ''[[Film/SadieThompson Rain]]'' includes several tracking shots that were highly unusual for the early talkie era. The scene where Sgt. O'Hara suggests that Sadie go to Australia and wait for him there runs seven minutes without a cut, following Sadie and O'Hara as they walk around the patio of the boarding house. The camera even spins to find Sadie back in her room after she runs inside in a panic.
* ''Film/ShaunOfTheDead'' has Shaun walking from home to the convenience store down the street, interacting with half a dozen people along with way.
* ''Film/TheTimeMachine2002'' had [[https://www.youtube.com/watch?v=W9SemYK9HEw one]]. First, while Alexander Hartdegen is travelling forward, there's a brief section where the camera slowly tracks back from him, out through the conservatory window, makes a slow arc around the conservatory, then back in. This is while the machine is in motion, and we see the seasons change, ivy creeping up the outside of the glass, then freezing under snow, and then continuing to creep. The second part, after he loses his locket with his girlfriend's photo in it, the camera again, starting from his face, tracks backwards, up through the conservatory, into the sky. It continues up through the atmosphere, out into space, and finally the camera settles behind the moon. Meanwhile, we see tower blocks being built, followed by skyscrapers, a biplane flying by, then an early jet, then a modern airliner, then a satellite, a bigger sattelite, the International Space Station, and finally a futuristic shuttle flying to the first lunar colony.
* ''Film/{{Wings}}'', which was made in 1927 and won the first ever Best Picture Oscar in 1928, introduces scenes set in the Folies Bergere with the camera coming down from the ceiling, tracking across four separate tables (at which characters enact a quick scene) before finally revealing the lead character (who is getting very drunk) and finishing on a close-up of more champagne being poured. The mechanics of the shot involved a complicated rig for its time, crew members pulling out the tables as soon as it was out of camera view and timing the movement of the extras precisely.
* ''Film/WorkingGirl'' begins with a 360-degree pan around the head of the Statue of Liberty, followed by a slow zoom in on the Staten Island ferry. It ends with a shot looking into the window of [[spoiler:Tess's new office]], then slowly pulls out to reveal the Manhattan skyline (though there's one obvious discontinuity in the shot).
* From the ''Film/JamesBond'' movies:
** ''Film/YouOnlyLiveTwice'' has one during [[https://www.youtube.com/watch?v=-c7hzHwETyk the scene]] where Film/JamesBond is attacked at the Kobe dock.

to:

* 1932 film ''[[Film/SadieThompson Rain]]'' includes several tracking ''Film/HarryPotter'' films:
** ''Film/HarryPotterAndThePrisonerOfAzkaban'' had a couple of
shots that were highly unusual for went ''through'' the early talkie era. The scene where Sgt. O'Hara suggests that Sadie go to Australia and wait for him there runs seven minutes without a cut, following Sadie and O'Hara as they walk around the patio of the boarding house. The camera even spins to find Sadie back in her room after she runs inside in a panic.
* ''Film/ShaunOfTheDead'' has Shaun walking from home to the convenience store down the street, interacting with half a dozen people along with way.
* ''Film/TheTimeMachine2002'' had [[https://www.youtube.com/watch?v=W9SemYK9HEw one]]. First, while Alexander Hartdegen is travelling forward, there's a brief section where the camera slowly tracks back from him, out
numerous, moving, DeathTrap-esque clock gears, through the conservatory window, makes a slow arc around closed window and into the conservatory, then back in. This is while the machine is in motion, and we see the seasons change, ivy creeping up the outside of the glass, then freezing under snow, and then continuing to creep. courtyard.
**
The [[Film/HarryPotterAndTheChamberOfSecrets second part, after he loses his locket film]] has a shot which starts with his girlfriend's photo a distant shot of Hogwarts and zooms in it, the camera again, starting from his face, tracks backwards, up through the conservatory, into roof of the sky. It continues up through greenhouse, revealing Professor Sprout starting the atmosphere, out into space, Herbology class.
* Used to dizzying effect in the 1964 Communist propaganda film ''Film/IAmCuba''. Tracking shots zoom all around a number of set-pieces, including a [[https://youtu.be/0BhMGrdA2Ag decadent pool party]] (dipping beneath the water at one point)
and finally [[https://youtu.be/u91Oxyv5U-o among rooftop rebel bases]]. The shots span such a distance that they required the camera settles behind the moon. Meanwhile, we see tower blocks being built, followed by skyscrapers, a biplane flying by, then an early jet, then a modern airliner, then a satellite, a bigger sattelite, the International Space Station, and finally a futuristic shuttle flying to the first lunar colony.
* ''Film/{{Wings}}'', which was made in 1927 and won the first ever Best Picture Oscar in 1928, introduces scenes set in the Folies Bergere with the camera coming down
be handed from operator to operator to navigate the ceiling, tracking across four separate tables (at which characters enact a quick scene) before finally revealing the lead character (who is getting very drunk) and finishing on a close-up of more champagne being poured. The mechanics of the shot involved a complicated rig for its time, crew members pulling out the tables as soon as it was out of camera view and timing the movement of the extras precisely.
* ''Film/WorkingGirl'' begins with a 360-degree pan around the head of the Statue of Liberty, followed by a slow zoom in on the Staten Island ferry. It ends with a shot looking into the window of [[spoiler:Tess's new office]], then slowly pulls out to reveal the Manhattan skyline (though there's one obvious discontinuity in the shot).
terrain.
* From the ''Film/JamesBond'' movies:
movies:
** ''Film/YouOnlyLiveTwice'' has one during [[https://www.youtube.com/watch?v=-c7hzHwETyk [[https://youtu.be/-c7hzHwETyk the scene]] where Film/JamesBond is attacked at the Kobe dock.



* ''Film/TheCranesAreFlying'': When the scene starts, we are on a bus filming the female lead with a hand-held camera. Suddenly the bus stops and we follow the girl off the bus into a large crowd, and as we follow her as she makes her way though the crowd, frantically trying to get through, the camera follows her right to the edge of a parade of tanks, and as she tries to get across, the camera suddenly, totally expectingly, rises, as if on a crane, and shoots the parade as it approaches towards us below, and the girl runs off through the tanks to the horizon.
* ''Film/PointBreak1991'' has Keanu Reeves introduced to his new workplace by way of a lengthy meandering dialogue-heavy tracking shot.
* Subverted in Creator/MelBrooks's 1977 film ''Film/HighAnxiety''. In one scene, the camera attempts to zoom "through a window" looking at a dinner party, ''[[CameraAbuse only to break the window]]'', complete with [[https://www.youtube.com/watch?v=RTCo2ChE5R0#t=20s an awkward pause and confused onlook from the dinner guests.]]
* The live action film version of ''Manga/WolfGirlAndBlackPrince'' has one early on as the main female character leaves a cafe table with her friend, leaves the cafe itself, walks down a busy street following the main male character (while trying not to be noticed), approaches him, distracts him, takes a bunch of photos, and then the two girls run away before stopping to see if the photos were any good. ItMakesSenseInContext.
* The shot in Film/{{Contact}} of young Ellie [[https://www.youtube.com/watch?v=Fxa3j8bK-c4 running up the stairs]] to fetch medication for her father who has collapsed.



* ''Film/SnakeEyes'' opens with a ''twenty minute'' tracking shot as Rick makes his way through the boxing arena.

to:

* ''Film/SnakeEyes'' opens ''Film/KillBill Vol. 1'' has a spectacular example of this which can be viewed [[https://youtu.be/UFCb-iYTSg0 here]].
* A classic example is seen at the start of ''Film/TheLordOfTheRingsTheTwoTowers''.
* ''Franchise/MarvelCinematicUniverse'':
** ''Film/TheAvengers2012'':
*** During the Battle of New York, this shot starts with Black Widow on the back of a Chitauri on a flying sled, controlling him. Iron Man flies by her and he blasts a couple of aliens on the ground. He lands next to and fights alongside Captain America, then flies up the side of a building where Hawkeye is on the roof fighting off aliens. Hawkeye shoots an arrow and the camera follows it as it hits a Chitauri sled. It falls and a leviathan passes by where the Hulk and Thor are on it fighting aliens. The Hulk stabs the leviathan
with a ''twenty minute'' big piece of debris, and Thor hammers it in. This brings the leviathan crashing into Grand Central Station. Then MoodWhiplash sets in when [[spoiler: The Hulk punches Thor off the Leviathan's corpse.]]
*** There's also the scene in the Helicarrier where the camera circles the Avengers arguing before moving on to Loki's scepter and then flipping ''upside down'' to have the scepter in the foreground and the Avengers inverted in the background.
** ''Film/ThorRagnarok:'' When Loki and Valkyrie walk up to the Grandmaster, the camera dives into their reflection on the floor up to revealing the Grandmaster. Creator/TaikaWaititi himself called the shot, that was developed by a storyboard artist, "one of the greatest shots in the history of cinema".
* Subverted in Creator/MelBrooks's 1977 film ''Film/HighAnxiety''. In one scene, the camera attempts to zoom "through a window" looking at a dinner party, ''[[CameraAbuse only to break the window]]'', complete with [[https://youtu.be/RTCo2ChE5R0#t=20s an awkward pause and confused onlook from the dinner guests.]]
* ''Film/MenInBlack'' ends with an epic
tracking shot as Rick makes his way by starting with an overhead of J and L, then pulling away to [[AstronomicZoom see the Earth, continuing on past the solar system and the galaxy to show that our galaxy is simply a marble in a giant alien's hand]], much like the MacGuffin of the film.
* The final shot of ''Film/MinorityReport'', starts with a simple pull back from two of the precogs sitting in a room in a house, back
through the boxing arena.house, out through the (closed) window, and away from the house [[FlyawayShot and up]].
* In the first ''Film/MissionImpossible'' movie, there's an epic helicopter shot that pulls up to the Chunnel Train, then through a window into a compartment. There's a similar shot in ''The Birdcage'', starting actoss the ocean, up to Miami Beach, then uninterrupted into Robin William's club.



* ''Film/PointBreak1991'' has Keanu Reeves introduced to his new workplace by way of a lengthy meandering dialogue-heavy tracking shot.
* The TropeMaker / TropeCodifier for AstronomicZoom, [[https://youtu.be/0fKBhvDjuy0 short film]] ''Film/PowersOfTen'' by Charles and Ray Eames (1977). It starts with a picnic blanket in a park and pulls out, marking every time the distance has increased to a power of ten, until our entire galaxy is just a dot in space. Then, we zoom all the way in again and keep going until we get down to the structure of an atom.
* The opening shot of ''Film/{{Psycho}}'' was meant to be one with the camera panning through the city until it entered the hotel room Marion was having her affair in, but it was impossible to do with the technology of the time. Gus Van Sant's shot-for-shot remake actually does it.
* The end of ''Film/ResidentEvil2002'' has a particularly good one involving Alice pulling out a shotgun from a police car and cocking it determinedly, and then pulling slowly out revealing a completely devastated Raccoon City.
* In Creator/RobertAltman's ''Film/ThePlayer'', the opening tracking shot, which even has two film execs giving a Shout Out to ''Film/TouchOfEvil''.
* The film ''Film/RussianArk'', which is ''[[TheOner all one single tracking shot]]'', showing the museum's splendor.
* 1932 film ''[[Film/SadieThompson Rain]]'' includes several tracking shots that were highly unusual for the early talkie era. The scene where Sgt. O'Hara suggests that Sadie go to Australia and wait for him there runs seven minutes without a cut, following Sadie and O'Hara as they walk around the patio of the boarding house. The camera even spins to find Sadie back in her room after she runs inside in a panic.
* The Argentine film ''[[Film/TheSecretInTheirEyes El secreto de sus ojos]]'' (The Secret in their Eyes) has a tracking shot that starts with an above view of a football (soccer) stadium during a match, then dives into the crowd to focus first on the policemen trying to spot a murder suspect among the fans, then on the suspect as he is seen by the police, and finally on a dizzying chase scene through the stairs and toilets of the stadium.
%%* The opening battle of ''Film/RevengeOfTheSith''.
* The introduction to the crew in ''Film/{{Serenity}}'' takes the form of a huge {{Oner}} that follows Mal through the ship, past each crew member in turn. There's another later in the film, when [[spoiler: preparing to HoldTheLine against the Reavers in Mr. Universe's complex]]. According to the commentary, both shots were intended to give a sense of the space the action was shortly to take place in.
* ''Film/ShaunOfTheDead'' has Shaun walking from home to the convenience store down the street, interacting with half a dozen people along with way.
* ''Film/SnakeEyes'' opens with a ''twenty minute'' tracking shot as Rick makes his way through the boxing arena.
* ''Film/StarTrekFirstContact'' began almost inside Captain Picards eye, then progressively pulled back to show how massive the Borg complex was. A later moment in the movie begins with a view of the Enterprise, then travels underneath the saucer section to focus on a couple of people emerging in space suits to walk across the hull. It gives a real sense of size to the ship.
* The silent film ''Film/{{Sunrise}}'', and its director F.W. Murnau, were largely responsible for introducing this trope to Hollywood. Murnau had already been doing this earlier in the 20s, back in Germany. ''Film/TheLastLaugh'' opens with an Epic Tracking Shot out an elevator, through a hotel lobby, and out a door, accomplished by putting a camera in a wheelchair.
* The title sequence of ''Film/SupermanReturns'' is one long tracking shot from Krypton to Earth. And it is ''[[SceneryPorn gorgeous.]]''
* The remake of ''Film/TheTexasChainsawMassacre2003'', after the hitchhiker commits suicide: the camera starts on everyone's shocked reaction, then pulls back through the bullet wound, out the back of her head and the shattered rear windshield.
* The ending of ''Film/TimeBandits'' has the camera pulling away from Kevin's house, up out into space, ending with a shot of the time hole map.
* ''Film/TheTimeMachine2002'' had [[https://youtu.be/W9SemYK9HEw one]]. First, while Alexander Hartdegen is travelling forward, there's a brief section where the camera slowly tracks back from him, out through the conservatory window, makes a slow arc around the conservatory, then back in. This is while the machine is in motion, and we see the seasons change, ivy creeping up the outside of the glass, then freezing under snow, and then continuing to creep. The second part, after he loses his locket with his girlfriend's photo in it, the camera again, starting from his face, tracks backwards, up through the conservatory, into the sky. It continues up through the atmosphere, out into space, and finally the camera settles behind the moon. Meanwhile, we see tower blocks being built, followed by skyscrapers, a biplane flying by, then an early jet, then a modern airliner, then a satellite, a bigger sattelite, the International Space Station, and finally a futuristic shuttle flying to the first lunar colony.
* Also TheOner, action movie ''[[Film/TomYumGoong Tom Yum Goong /The Protector/ Warrior King]]'' features a four-minute one-shot elaborate fight sequence that reportedly took eight days to get right in which Tony Jaa fights his way up a building.
* One scene in the original ''Film/TotalRecall1990'' has several villains walking around inside an abandoned alien base. At the end the camera pulls back (via special effects) to reveal the incredible size of the base.
%%* Several in ''Film/{{Watchmen}}''.



* ''Film/{{Wings}}'', which was made in 1927 and won the first ever Best Picture Oscar in 1928, introduces scenes set in the Folies Bergere with the camera coming down from the ceiling, tracking across four separate tables (at which characters enact a quick scene) before finally revealing the lead character (who is getting very drunk) and finishing on a close-up of more champagne being poured. The mechanics of the shot involved a complicated rig for its time, crew members pulling out the tables as soon as it was out of camera view and timing the movement of the extras precisely.
* The live action film version of ''Manga/WolfGirlAndBlackPrince'' has one early on as the main female character leaves a cafe table with her friend, leaves the cafe itself, walks down a busy street following the main male character (while trying not to be noticed), approaches him, distracts him, takes a bunch of photos, and then the two girls run away before stopping to see if the photos were any good. ItMakesSenseInContext.
* ''Film/WorkingGirl'' begins with a 360-degree pan around the head of the Statue of Liberty, followed by a slow zoom in on the Staten Island ferry. It ends with a shot looking into the window of [[spoiler:Tess's new office]], then slowly pulls out to reveal the Manhattan skyline (though there's one obvious discontinuity in the shot).
* Creator/AlfredHitchcock's ''Young and Innocent'' reveals that the real murderer has an eye twitch, then does a slow, dramatic tracking shot from the lobby ceiling of the hotel, through the dancer-filled ballroom, and up to a close-up of the eyes of the blackface orchestra drummer. No points guessing what his eye does. (Although when you consider that the actor had a big, heavy camera rushing toward him, needing to stop just inches from his face, maybe the eye twitch didn't involve much acting.)
** Hitchcock's ''Film/{{Notorious|1946}}'' similarly used a shot over a party in a large mansion, with the camera swooping in from a balcony, coming over the crowd, and finally closing in on a tight shot of a key in a person's hand.



* ''Series/{{Player}}'' uses this several times. In episode four it's used as Ha-ri and A-ryeong break into a room full of money.
* ''Series/TheLongestDayInChangAn'': The opening scene is two minutes long, only one shot, and moves all over the city.
* ''Franchise/StarTrek'' series would often end with a shot of someone looking out a window to have the shot pan out to show the rest of the ship or station they were on.
** In ''Series/StarTrekTheNextGeneration'' they would visually "cheat" the image by pulling out only part way, then cut to the approximate area of the ship. In later series as CG became more cost effective, they would do it uninterrupted.\\
** In the series finale of ''Series/StarTrekDeepSpaceNine'', the camera pans away from Kira and Jake looking out a window all the way out until the station is out of sight before the credits roll.
** ''Series/StarTrekEnterprise'' features a couple of insane tracking shots, notably in the third and fourth seasons. One shot follows ''Enterprise'' through a massive fray of starships firing on one another while it tries to catch up with and disable the Xindi superweapon before it can jump to Earth and destroy the planet. Another follows ''Enterprise'' and ''Columbia'' at high warp as the latter ship races to rescue the former, concluding with the camera phasing through ''Columbia'''s bridge bulkhead and zooming in on Captain Hernandez's determined KubrickStare.
* ''{{Series/Smallville}}'' uses these on occasion. One shows Clark leaving Smallville by Super Speed, then the camera pulls back to see the entire Earth, and then zooms in to South America where Clark is arriving.
* The opening credits of the old 60s show ''Series/HawaiiFiveO'' feature an epic zoom-in from the city of Honolulu to Jack Lord, standing on the roof of a building.
* ''{{Series/Firefly}}'' uses the "sink through the ceiling or ground" variation in the episode "Objects in Space" for both River listening in underneath the rest of the crew and Jubal Early listening in on top of their ship.
* ''Series/{{Warehouse 13}}'' uses the eye catcher variation using a handful of stock footage bits of moving quickly around the warehouse only to merge the stock footage with original footage as it goes into a specific area.

to:

* ''Series/{{Player}}'' uses this several times. In episode four it's used as Ha-ri and A-ryeong break into a room full of money.
* ''Series/TheLongestDayInChangAn'':
The opening scene is two minutes long, only one shot, and moves all over the city.
* ''Franchise/StarTrek'' series would often end with a shot of someone looking out a window to have the shot pan out to show the rest
of the ship or station they were on.
** In ''Series/StarTrekTheNextGeneration'' they would visually "cheat"
50's documentary TV show, ''The Twentieth Century'', included a pan shot from the image by pulling out only part way, then cut ground up to about 60 miles where you could see the approximate area curvature of the ship. In later series as CG became more cost effective, they would do it uninterrupted.\\
** In the series finale of ''Series/StarTrekDeepSpaceNine'', the
earth. No camera pans away from Kira and Jake looking out a window all the way out until the station is out of sight before the credits roll.
** ''Series/StarTrekEnterprise'' features a couple of insane tracking shots, notably in the third and fourth seasons. One shot follows ''Enterprise'' through a massive fray of starships firing on one another while it tries to catch up with and disable the Xindi superweapon before it can jump to Earth and destroy the planet. Another follows ''Enterprise'' and ''Columbia'' at high warp as the latter ship races to rescue the former, concluding with the
tricks, however. The camera phasing through ''Columbia'''s bridge bulkhead and zooming was mounted on a captured V2 rocket when it was launched in on Captain Hernandez's determined KubrickStare.
1946.
* ''{{Series/Smallville}}'' uses these on occasion. One of the intros to ''Series/BabylonFive'' shows Clark leaving Smallville by Super Speed, then the a person in a spacesuit welding in space. The camera then pulls back to see show the entire Earth, and then zooms in enormous titular station next to South America where Clark which the person is arriving.
* The
just a dot.
%%* ''Series/RedDwarf'' uses an
opening credits of the old 60s show ''Series/HawaiiFiveO'' feature an epic zoom-in from the city of Honolulu similar to Jack Lord, standing on the roof of a building.
* ''{{Series/Firefly}}'' uses the "sink through the ceiling or ground" variation in the episode "Objects in Space" for both River listening in underneath the rest of the crew and Jubal Early listening in on top of their ship.
* ''Series/{{Warehouse 13}}'' uses the eye catcher variation using a handful of stock footage bits of moving quickly around the warehouse only to merge the stock footage with original footage as it goes into a specific area.
''Babylon 5'''s.



* ''Series/BreakingBad'' had a ''very'' long (20 seconds, to specify) shot from the perspective of the pink teddy bear [[spoiler:falling from a plane after the ABQ crash and heading straight for Walter White's pool]].
* ''Series/Daredevil2015'' combines this with TheOner in the Season 3 episode "Blindsided". It features an '''11 minute''' long continuous shot through various rooms and corridors of a maximum security prison, with Matt fighting off a bunch of inmates and corrupt guards, a confrontation with a mob boss, then another fight through a riot and a daring escape into a waiting taxi. Production had to be stopped for a full day to allow the cast and crew to rehearse it, without digital stitching, and with Charlie Cox performing the majority of the fight.



* One of the intros to ''Series/BabylonFive'' shows a person in a spacesuit welding in space. The camera then pulls back to show the enormous titular station next to which the person is just a dot.
%%* ''Series/RedDwarf'' uses an opening similar to ''Babylon 5'''s.
* The opening of the 50's documentary TV show, ''The Twentieth Century'', included a pan shot from the ground up to about 60 miles where you could see the curvature of the earth. No camera tricks, however. The camera was mounted on a captured V2 rocket when it was launched in 1946.
* In the season five opener of ''Series/StargateAtlantis'', the camera zooms out from the team's location and pulls back through the solar system until it turns around, zooms through another solar system, and finally stops as we see an enemy ship orbiting another planet.

to:

* One ''{{Series/Firefly}}'' uses the "sink through the ceiling or ground" variation in the episode "Objects in Space" for both River listening in underneath the rest of the intros to ''Series/BabylonFive'' shows a person crew and Jubal Early listening in a spacesuit welding in space. The camera then pulls back to show the enormous titular station next to which the person is just a dot.
%%* ''Series/RedDwarf'' uses an opening similar to ''Babylon 5'''s.
on top of their ship.
* The opening of ''Series/GameOfThrones'' episode "The Watchers on the 50's documentary TV show, Wall" has a very impressive one reminiscent of ''The Twentieth Century'', included a pan shot Avengers'' above, going past several of the major figures in the siege on Castle Black.
* The opening credits of the old 60s show ''Series/HawaiiFiveO'' feature an epic zoom-in
from the ground up city of Honolulu to about 60 miles where you could see Jack Lord, standing on the curvature roof of the earth. No camera tricks, however. The camera was mounted on a captured V2 rocket when it was launched in 1946.
* In the season five opener of ''Series/StargateAtlantis'', the camera zooms out from the team's location and pulls back through the solar system until it turns around, zooms through another solar system, and finally stops as we see an enemy ship orbiting another planet.
building.



* There are three from the first episode ("A Study in Pink") of ''Sherlock'' that stand out enough to be discussed during the commentary.

to:

* ''Series/TheLongestDayInChangAn'': The opening scene is two minutes long, only one shot, and moves all over the city.
* ''Series/{{Patriot}}'' has a great one where the camera follows John as he exits a subway and travels on foot to a grocery store while narration in the form of a folk song explains what he's thinking and doing. Arriving at the grocery store, he tries to steal a pistol, but gets ambushed by the store clerk, who is himself ambushed by John's friends. The camera then follows the group as they leave and walk nonchalantly all the way back to the subway as the folk song reveals that John is pretty sure several of them have been shot.
* ''Series/{{Player}}'' uses this several times. In episode four it's used as Ha-ri and A-ryeong break into a room full of money.
* There are three from the first episode ("A Study in Pink") ("Recap/SherlockS01E01AStudyInPink") of ''Sherlock'' ''Series/Sherlock'' that stand out enough to be discussed during the commentary.



* The ''Series/GameOfThrones'' episode "The Watchers on the Wall" has a very impressive one reminiscent of ''The Avengers'' above, going past several of the major figures in the siege on Castle Black.
* ''Series/BreakingBad'' had a ''very'' long (20 seconds, to specify) shot from the perspective of the pink teddy bear [[spoiler:falling from a plane after the ABQ crash and heading straight for Walter White's pool]].
* ''Series/Daredevil2015'' combines this with TheOner in the Season 3 episode "Blindsided". It features an '''11 minute''' long continuous shot through various rooms and corridors of a maximum security prison, with Matt fighting off a bunch of inmates and corrupt guards, a confrontation with a mob boss, then another fight through a riot and a daring escape into a waiting taxi. Production had to be stopped for a full day to allow the cast and crew to rehearse it, without digital stitching, and with Charlie Cox performing the majority of the fight.
* ''Series/{{Patriot}}'' has a great one where the camera follows John as he exits a subway and travels on foot to a grocery store while narration in the form of a folk song explains what he's thinking and doing. Arriving at the grocery store, he tries to steal a pistol, but gets ambushed by the store clerk, who is himself ambushed by John's friends. The camera then follows the group as they leave and walk nonchalantly all the way back to the subway as the folk song reveals that John is pretty sure several of them have been shot.

to:

* The ''Series/GameOfThrones'' episode "The Watchers ''{{Series/Smallville}}'' uses these on the Wall" has a very impressive one reminiscent of ''The Avengers'' above, going past several of the major figures in the siege on Castle Black.
* ''Series/BreakingBad'' had a ''very'' long (20 seconds, to specify) shot from the perspective of the pink teddy bear [[spoiler:falling from a plane after the ABQ crash and heading straight for Walter White's pool]].
* ''Series/Daredevil2015'' combines this with TheOner in the Season 3 episode "Blindsided". It features an '''11 minute''' long continuous shot through various rooms and corridors of a maximum security prison, with Matt fighting off a bunch of inmates and corrupt guards, a confrontation with a mob boss,
occasion. One shows Clark leaving Smallville by Super Speed, then another fight through a riot and a daring escape into a waiting taxi. Production had to be stopped for a full day to allow the cast and crew to rehearse it, without digital stitching, and with Charlie Cox performing the majority of the fight.
* ''Series/{{Patriot}}'' has a great one where
the camera follows John as he exits a subway pulls back to see the entire Earth, and travels on foot then zooms in to a grocery store while narration in South America where Clark is arriving.
* In
the form season five opener of a folk song explains what he's thinking and doing. Arriving at ''Series/StargateAtlantis'', the grocery store, he tries to steal a pistol, but gets ambushed by the store clerk, who is himself ambushed by John's friends. The camera zooms out from the team's location and pulls back through the solar system until it turns around, zooms through another solar system, and finally stops as we see an enemy ship orbiting another planet.
* ''Franchise/StarTrek'' series would often end with a shot of someone looking out a window to have the shot pan out to show the rest of the ship or station they were on.
** In ''Series/StarTrekTheNextGeneration'' they would visually "cheat" the image by pulling out only part way,
then follows cut to the group approximate area of the ship. In later series as CG became more cost effective, they leave would do it uninterrupted.\\
** In the series finale of ''Series/StarTrekDeepSpaceNine'', the camera pans away from Kira
and walk nonchalantly Jake looking out a window all the way back to out until the subway station is out of sight before the credits roll.
** ''Series/StarTrekEnterprise'' features a couple of insane tracking shots, notably in the third and fourth seasons. One shot follows ''Enterprise'' through a massive fray of starships firing on one another while it tries to catch up with and disable the Xindi superweapon before it can jump to Earth and destroy the planet. Another follows ''Enterprise'' and ''Columbia'' at high warp
as the folk song reveals that John is pretty sure several latter ship races to rescue the former, concluding with the camera phasing through ''Columbia'''s bridge bulkhead and zooming in on Captain Hernandez's determined KubrickStare.
* ''Series/{{Warehouse 13}}'' uses the eye catcher variation using a handful
of them have been shot.stock footage bits of moving quickly around the warehouse only to merge the stock footage with original footage as it goes into a specific area.



* ''VideoGame/ApexLegends''[='s=] sixth season's trailer is almost entirely a long reversed tracking shot, starting with ice falling off of a rocket at World's Edge, before quickly moving to the Dome where an extended teamfight is happening, panning across the chaos going on and eventually following a bullet fired by Rampart's minigun.



* The opening of ''VideoGame/SonicAdvance 2'' turns this into a ''fun'' landfall shot that whips up to the sky to reveal the logo. The landfall itself is towards a roller coaster that isn't featured anywhere else in the game.
* ''VideoGame/ApexLegends''[='s=] sixth season's trailer is almost entirely a long reversed tracking shot, starting with ice falling off of a rocket at World's Edge, before quickly moving to the Dome where an extended teamfight is happening, panning across the chaos going on and eventually following a bullet fired by Rampart's minigun.

to:

* The opening of ''VideoGame/SonicAdvance 2'' turns ''VideoGame/TheDaedalusEncounter'' does this into a ''fun'' landfall shot when Casey's remote probe launches to inspect the titular alien ship that whips up to the sky to reveal ''Artemis'' crashed into. The probe slowly pans around the logo. The landfall itself is towards outside of its hull, showing the ''Artemis' '' damage and several features of the alien ship, set to a roller coaster that isn't featured anywhere else pounding rock theme. Ari and Zack decide to EVA with you when your probe spots a breach in the game.
ship's hull.
* ''VideoGame/ApexLegends''[='s=] sixth season's trailer is almost entirely a long reversed tracking shot, starting ''VideoGame/FalloutNewVegas'' starts off with ice falling off one of these, beginning with a rocket at World's Edge, before quickly framed photo of the Lucky 38 casino hanging on a wall, moving to the Dome where an extended teamfight is happening, panning across trashed Lucky 38 holding it, then to the chaos going on New Vegas Strip, and eventually following continuing onto an NCR sniper, who fires a bullet fired by Rampart's minigun.into a raider's head ([[ArrowCam that the camera faithfully follows]]). It continues further back to see Caesar's Legion soldiers moving out towards the Strip. We finally end in the Goodsprings Graveyard, where Benny shoots the Courier.



* ''VideoGame/TheJourneymanProject'' begins with a zoom-out shot of the [[FloatingContinent airborne city]] of Caldoria, followed by an explosion effect cutting to the player character's apartment.
* The ''VideoGame/ModernWarfare'' games like doing this in the cutscenes between missions, going from a satellite view of an entire country and then zooming in progressively to show entire battlefields full of high-tech armies, just to establish the scale. Often the camera zooms in (often from orbit!) to show your squad, and further down to first-person view to begin the mission.



* The ''VideoGame/ModernWarfare'' games like doing this in the cutscenes between missions, going from a satellite view of an entire country and then zooming in progressively to show entire battlefields full of high-tech armies, just to establish the scale. Often the camera zooms in (often from orbit!) to show your squad, and further down to first-person view to begin the mission.
* ''VideoGame/FalloutNewVegas'' starts off with one of these, beginning with a framed photo of the Lucky 38 casino hanging on a wall, moving to the trashed Lucky 38 holding it, then to the New Vegas Strip, and continuing onto an NCR sniper, who fires a bullet into a raider's head ([[ArrowCam that the camera faithfully follows]]). It continues further back to see Caesar's Legion soldiers moving out towards the Strip. We finally end in the Goodsprings Graveyard, where Benny shoots the Courier.
* ''VideoGame/XenobladeChronicles1''' ActionPrologue ends with a tracking shot that zooms out from the battle in Sword Valley, passing through Eryth Sea and Makna Forest (that are in the Bionis' head and back respectively), and finally ends with with a complete shot of both Bionis and Mechonis, the titans [[WorldShapes who form the game's world]].
* ''VideoGame/TheJourneymanProject'' begins with a zoom-out shot of the [[FloatingContinent airborne city]] of Caldoria, followed by an explosion effect cutting to the player character's apartment.
* ''VideoGame/TheDaedalusEncounter'' does this when Casey's remote probe launches to inspect the titular alien ship that the ''Artemis'' crashed into. The probe slowly pans around the outside of its hull, showing the ''Artemis' '' damage and several features of the alien ship, set to a pounding rock theme. Ari and Zack decide to EVA with you when your probe spots a breach in the ship's hull.

to:

* The ''VideoGame/ModernWarfare'' games like doing opening of ''VideoGame/SonicAdvance 2'' turns this in the cutscenes between missions, going from into a satellite view of an entire country and then zooming in progressively to show entire battlefields full of high-tech armies, just to establish the scale. Often the camera zooms in (often from orbit!) to show your squad, and further down to first-person view to begin the mission.
* ''VideoGame/FalloutNewVegas'' starts off with one of these, beginning with a framed photo of the Lucky 38 casino hanging on a wall, moving
''fun'' landfall shot that whips up to the trashed Lucky 38 holding it, then sky to reveal the New Vegas Strip, and continuing onto an NCR sniper, who fires a bullet into a raider's head ([[ArrowCam that the camera faithfully follows]]). It continues further back to see Caesar's Legion soldiers moving out logo. The landfall itself is towards the Strip. We finally end a roller coaster that isn't featured anywhere else in the Goodsprings Graveyard, where Benny shoots the Courier.
game.
* ''VideoGame/XenobladeChronicles1''' ActionPrologue ends with a tracking shot that zooms out from the battle in Sword Valley, passing through Eryth Sea and Makna Forest (that are in the Bionis' head and back respectively), and finally ends with with a complete shot of both Bionis and Mechonis, the titans [[WorldShapes who form the game's world]]. \n* ''VideoGame/TheJourneymanProject'' begins with a zoom-out shot of the [[FloatingContinent airborne city]] of Caldoria, followed by an explosion effect cutting to the player character's apartment. \n* ''VideoGame/TheDaedalusEncounter'' does this when Casey's remote probe launches to inspect the titular alien ship that the ''Artemis'' crashed into. The probe slowly pans around the outside of its hull, showing the ''Artemis' '' damage and several features of the alien ship, set to a pounding rock theme. Ari and Zack decide to EVA with you when your probe spots a breach in the ship's hull.



* ''[[https://www.youtube.com/watch?v=aaDd-m4RPSE Goldrush]]'', a fan made ''VideoGame/TeamFortress2'' video.

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* ''[[https://www.youtube.com/watch?v=aaDd-m4RPSE ''[[https://youtu.be/aaDd-m4RPSE Goldrush]]'', a fan made ''VideoGame/TeamFortress2'' video.
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* ''Film/{{Braveheart}}'' opens with a camera flight over costal water after which the rough Scottish mountain landscape comes into view.


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* The intro movie of ''VideoGame/TheCurseOfMonkeyIsland'' plays with this: The camera zooms towards the titular Monkey Island... then swerves to zoom in on a drifting bumper car with our hero.
* The opening of ''VideoGame/SonicAdvance 2'' turns this into a ''fun'' landfall shot that whips up to the sky to reveal the logo. The landfall itself is towards a roller coaster that isn't featured anywhere else in the game.
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* Each episode of Machinima/RedVsBlue ''Reconstruction'' opened with a tracking shot of some kind. Probably the most noteable was when the camera pans over ''Standoff'' and unltimately flies through an open window into a base where the characters are standing and the scene begins with no transition. Granted, due to the game engine's flying camera it's not a hard shot to pull off in the game, but it would be in real life.

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* Each episode of Machinima/RedVsBlue WebAnimation/RedVsBlue ''Reconstruction'' opened with a tracking shot of some kind. Probably the most noteable was when the camera pans over ''Standoff'' and unltimately flies through an open window into a base where the characters are standing and the scene begins with no transition. Granted, due to the game engine's flying camera it's not a hard shot to pull off in the game, but it would be in real life.
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* ''VideoGame/ApexLegends''[='s=] sixth season's trailer is almost entirely a long reversed tracking shot, starting with ice falling off of a rocket at World's Edge, before quickly moving to the Dome where an extended teamfight is happening, panning across the chaos going on and eventually following a bullet fired by Rampart's minigun.
Is there an issue? Send a MessageReason:
None


** Hitchcock's ''Film/{{Notorious}}'' similarly used a shot over a party in a large mansion, with the camera swooping in from a balcony, coming over the crowd, and finally closing in on a tight shot of a key in a person's hand.

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** Hitchcock's ''Film/{{Notorious}}'' ''Film/{{Notorious|1946}}'' similarly used a shot over a party in a large mansion, with the camera swooping in from a balcony, coming over the crowd, and finally closing in on a tight shot of a key in a person's hand.
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Up To Eleven is a defunct trope


* ''Film/TheGreenHornet'' takes this concept UpToEleven by having the villain send out his henchman to pass along his orders to kill the titular hero to all the hoodlums under his thumb. Rather than track each person who receives the call, the camera ''divides into more cameras'' to follow every single hoodlum as they are mobilized, [[spoiler:up until all the views end in the deaths of a dozen criminals mistaken for the Green Hornet]].

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* ''Film/TheGreenHornet'' takes this concept UpToEleven by having has the villain send out his henchman to pass along his orders to kill the titular hero to all the hoodlums under his thumb. Rather than track each person who receives the call, the camera ''divides into more cameras'' to follow every single hoodlum as they are mobilized, [[spoiler:up until all the views end in the deaths of a dozen criminals mistaken for the Green Hornet]].
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* ''WesternAnimation/ThePowerpuffGirlsMovie'' gives us a really long shot that lasts about half a minute, zooming back from Mojo mutating his monkey army with Chemical X, out through the window of his observatory, across the Townsville skyline, through the window of the girls' bedroom, and ending on the girls sleeping in bed.
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* ''Film/{{Birdman}}'': The entire film is shot and edited to look like a single, uninterrupted take (it isn't, however).

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* ''Film/{{Birdman}}'': ''Film/BirdmanOrTheUnexpectedVirtueOfIgnorance'': The entire film is shot and edited to look like a single, uninterrupted take (it isn't, however).
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None


* In ''WesternAnimation/TheAdventuresOfTintin'', there is the the [[https://youtu.be/3mVpZTGCikM?t=2m9s chase scene in Bagghar,]] from the point where Snowy jumps into the car, to the point where Tintin catches the falcon by the dock, all done as a single shot, over two and a half minutes long. And it's an action scene following multiple characters across an entire city.

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* In ''WesternAnimation/TheAdventuresOfTintin'', ''WesternAnimation/TheAdventuresOfTintin2011'', there is the the [[https://youtu.be/3mVpZTGCikM?t=2m9s chase scene in Bagghar,]] from the point where Snowy jumps into the car, to the point where Tintin catches the falcon by the dock, all done as a single shot, over two and a half minutes long. And it's an action scene following multiple characters across an entire city.
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* ''Series/{{Player}}'' uses this several times. In episode four it's used as Ha-ri and A-ryeong break into a room full of money.
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* ''Film/WarOfTheWorlds2005'' includes an impressive tracking shot which is actually easy to miss as one. During one scene the camera shot begins from outside the car in which the main group of characters are traveling, goes into the car through an open window, shows the inside of the car, then out through another window on the opposite side for another exterior shot, all in one single take.
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None


* The end of ''Film/ResidentEvil'' has a particularly good one involving Alice pulling out a shotgun from a police car and cocking it determinedly, and then pulling slowly out revealing a completely devastated Raccoon City.

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* The end of ''Film/ResidentEvil'' ''Film/ResidentEvil2002'' has a particularly good one involving Alice pulling out a shotgun from a police car and cocking it determinedly, and then pulling slowly out revealing a completely devastated Raccoon City.

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