Drop a photo to view it with depth. Add a depth map for real geometry,
or let it estimate one.
photo + optional depth map · drop both together
Dolly zoom wizard
Save this frame
Project
Saves the picture, your cut-out, the healed background and all
settings to a file, so you can stop and pick masking back up later.
Camera
How far the plate is pushed apart. Bigger reads stronger
but tears more at edges.
How much of the picture the resting view shows. Below 100%
the camera sits inside the scene, so a move never reaches the edge — which
is what keeps a dolly zoom from breaking the illusion.
A fixed frame the image sits behind. Zero turns it off.
Mirrors the picture outward and dissolves it, so the
background seems to carry on past the frame.
Softens where the image meets the frame.
Colour grade
Pushes the dark tones toward a colour, leaving highlights
clean — a shadow tint rather than a flat wash over the whole picture.
The colour the shadows lean toward. 190° is a cool teal; drop
it for blue, raise it for magenta.
Overall temperature — right warms the whole image toward
amber, left cools it toward blue.
Foreground cutout
Lift an object onto its own flat plane so it stays rigid
while the background moves and warps behind it — a planet against a star
field, a subject against a sky. The background hole is filled behind it.
Patch from surround refills the whole cut area from the
strip of original background around it — a one-press fix for the artefacts.
Clone from original makes the clone brush copy the untouched picture
rather than the already-filled background.
Add / Erase paint the selection; Heal bg paints over the
background artefacts a cut leaves behind, filling them from the surrounding
picture. Hold and drag — the ring shows the brush; drop the size for fine work.
Hide the top layer to see the background artefacts you are
healing; show it again when done.
Heal strength is how strongly the brush repairs. Colour blend
steers the healed area toward the Highlight and Dark colours by brightness —
set them by hand, or press Pick heal colours and click the background.
Click a tool to activate it, then act on the
picture — Wand click the object (hold to grow the selection
outward across similar colour), Rectangle / Ellipse drag over
it. The motion freezes so you aim at a still image; the cut shows as marching
ants.
Auto mask asks you to click the subject, samples that colour,
then keeps every pixel closer to your sample than to the background (read off
the frame edges) that connects to where you clicked. Best against a fairly
even background.
How large a difference from the background counts as subject.
Higher pulls in more of it (softer edges, faint parts); lower keeps only the
strongest contrast. Re-runs Auto mask as you drag.
How far in front of the background the object sits. Larger
makes it stand out and parallax more strongly.
How readily the selection spreads to nearby colour. Raise it
if the object is under-selected, lower it if it bleeds into the background.
How strongly the selection stops at edges, so it follows the
object's outline rather than crossing it.
Softens the cut edge so the object does not meet the
background at a hard line.
Darkens the bright rim of the object that an imperfect cut
leaves in the background, so it does not smear into a halo when the
background warps. Raise it if you see a glowing outline behind the object.
Automatically softens the patch left where the object was cut
away, so the fill blends instead of streaking. Higher heals more but blurs the
background there; use the Heal bg brush for anything it misses.
Dolly zoom has its own controls — lens, push time, hold, compensation.
Choose Dolly zoom in the bar below to see them.
Dolly zoom
One press dials in the full vertigo slam — wide lens, long
travel, strong lens warp, and a held peak. Pair it with a foreground
cutout for the cleanest version of the effect.
A wider lens exaggerates perspective, so the same push
produces a much stronger stretch. Past about 65° it becomes a fisheye.
How far the camera pushes in, as a share of its distance
from the picture.
1.0 holds the locked plane exactly. Below drifts with the
push; above over-corrects and reverses it.
Which depth stays the same size — 0 far, 1 near.
Bends the frame like real wide glass, but only behind the
locked plane — the foreground stays sharp while the background bows and
swells with the push. Best on deep scenes: a starfield, a sky, a corridor.
Zero is the plain rectilinear zoom.
Seconds for the camera to complete its push. Hitchcock's
shots run one to two seconds; longer reads as a slow reveal.
How long it sits at maximum distortion before unwinding.
The pause is what lets the effect register.