Hat-and-Coat Shot, though there are exceptions. Compare Astronomic Zoom, Pan Up to the Sky Ending and Fly-at-the-Camera Ending.
- The book version of Watchmen ends Chapter 1 exactly like this.
- At the end of Shara, the camera zooms out, pans the rooftops, and then the image segues to a view of the city from a helicopter flying higher and higher.
- Eureka by Aoyama Shinji.
- At the end of Live Free or Die Hard, with Creedence's "Fortunate Son" reprising itself in the background.
- Dirty Harry movies end like this.
- The end of The Teaser in Harry Potter and the Philosopher's Stone zooms out to show a huge number of completely identical houses, reinforcing the mundanity of the Muggle world.
- Forrest Gump has this as bookend shots, following a Faux Symbolism feather.
- Chocolat ends with a zoom-out from the statue to an areal shot of the whole village.
- Last Chance Harvey ends with a typical Flyaway Shot of the happy couple walking away as the camera rises.
- Field of Dreams has this at the end. It starts out with a shot of Ray and his dad playing catch, and zooms away to reveal that a long line of cars is driving towards the field to visit.
- Inverted with Recess: School's Out, right after the prolouge, we cut to an arial view of the town the show takes place in (no name), and goes down while the movie title shows up, ending at the school. Conspicuous CG included.
- Gangs of New York does this at the end of the fight scene at the beginning, showing all of 1840's New York.
- Men In Black takes it Up to Eleven, by zooming out from the streets of New York City, through the Earth's atmosphere and past the outer reaches of the Milky Way to show that our entire galaxy is being used as the shooter in a marbles game played by space aliens.
- The Skeleton Key ends with a zoom-out of the mansion.
- At the end of The Sound of Music the camera pulls back to give us panorama shot of the mountains.
- Dead Mans Shoes ends with the camera flying out like an angel going to heaven.
- This is the last shot in the British indie Rom Com Love And Other Disasters. As this is a film in part about the writing of a screenplay depicting the events shown in the film, the Flyaway Shot is accompanied by dialog lampshading the utility and inevitability of this filmmaking cliche.
- Pay It Forward ends with a Flyaway Shot, zooming out from the hero's home onto the nightly skyline of Las Vegas.
- The zoom-out shot from Zahra at the end of The Stoning of Soraya M. giving an aerial view of the setting.
- Played for laughs in the final scene of the British detective story The House in Nightmare Park (1973). The only information the hero detective has about the lost diamonds is that they are buried on the meadow in front of the house. We see him grab a shovel and start digging. Then the camera flies away to give us an areal shot of the location, revealing that the meadow is huge and the task to find the diamonds impossible.
- Another reversed zoom can be seen at the end of Time Bandits, while the camera's zooming out on Kevin. The remains of Kevin's parents billow smoke backwards.
- Solaris (1972) ends with the camera flying away from the house, giving us an areal view of the location which turns out to be an isle on the planet Solaris instead of Earth.
- The Bourne Identity ends with the camera giving an areal shot of the heroes' new location followed by a quick zoom-out before cutting to black.
- This was the end credits sequence for The Big Breakfast, in itself the Title Sequence (a short-range Astronomic Zoom) played in reverse.
- In the Supernatural episode "What Is And What Should Never Be" (S02, Ep20), the camera rises above the cemetery to show the bare tree branches and a river as Dean walks away from his father's grave.
- The end credits of Family Matters zooms out from the Winslow house to show all of Chicago.
- The closing shot of Björk's music video for "It's Oh So Quiet" has her fly away together with the camera.
- In The Hitchhiker's Guide to the Galaxy, Fit the Sixth was supposed to end like this, despite radio being a non-visual medium. The Original Hitch-Hiker Radio Scripts tells the behind-the-scenes story:
Douglas was obsessed by the fact that the last scene should sound like a cinematic pull back from the figures of Ford and Arthur until they disappeared completely from view. He demonstrated this theory with much waving around of his arms and knocking over of teacups. Not having any actual cameras to pull back with we finally overcame the problem by bringing up the wind a bit.