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The Ken Burns Effect
- 270 statements
- 52 feature instances
- 100 referencing feature instances
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Also known as "kinestasis", the Ken Burns Effect is a camera technique that allows the filmmaker to retain some visual interest when all there is to work with is a static image. The camera focuses on part of the image, then slowly pans over it, optionally zooming slowly in or out as it does so. This can be used to slowly reveal details in the case of panning or zooming out, or focusing attention on specific details in the case of zooming in. A Feet-First Introduction is often in order. If you want to get fancy, slide multiple cells across each other at different speeds to simulate Motion Parallax and give the illusion of depth. This technique is most frequently used in documentaries (where period photographs may be the only visuals, aside from Talking Heads, the filmmaker has to work with) and in Limited Animation (where one fancy painting can fill in for a hundred or more cells of real animation). In one context, this effect wins awards; in the other, it draws cries of "Lazy Artist!" Go figure. The technique is named after documentary filmmaker Ken Burns, who used it extensively in The Civil War (1990) and other documentaries; his younger brother, Ric, who worked with him on The Civil War, has also used it in his own documentaries, including The Donner Party (part of PBS' The American Experience series). Burns himself credits Jerome Liebling and the 1957 National Film Board of Canada documentary City of Gold as his inspirations for the technique. Among animators, this technique is sometimes called a "Filmation Pan," because Filmation made such frequent use of it (e.g., Kirk delivering his "Captain's Log" summary as we slowly pan across a painted alien landscape in Star Trek: The Animated Series). |
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The Ken Burns Effect | |
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Both Lady Snowblood and sequel Lady Snowblood 2: Love Song of Vengeance have sequences with stills and drawings, a nod to the original comic, complete with pans and zooms. | |
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The Ken Burns Effect | |
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Dillinger (1973) uses this for the opening credits, in which the credits play over a series of stills of the Great Depression as the camera pans and zooms. This is also used for a couple of Time Passes Montages within the movie. | |
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The Ken Burns Effect | |
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Four Days in November, a 1964 theatrical release, uses this when showing stills. | |
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The Ken Burns Effect | |
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For All Mankind, a documentary about the Apollo missions to the Moon, uses this when showing photos of the Earth and Moon. | |
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The Ken Burns Effect | |
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This effect was used for the old-timey photos shown in the opening credits of Cheers. | |
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The Ken Burns Effect | |
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1973 Manson Family documentary Manson is an example of this effect from well before Ken Burns started making movies. Not only did the filmmakers pan and zoom with still photos, they also moved photos around the screen. | |
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The Moon and the Son: An Imagined Conversation: Used repeatedly for the still pictures of the narrator, his father, and their family, as the son tells the story of his toxic relationship with his dad. Sometimes also used with animated backgrounds. | |
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Used sparingly in Trouble the Water, one example being a slow zoom onto a photo of Scott Roberts' grandmother, as he talks about how she died in Hurricane Katrina when the doctors and nurses at her hospital abandoned her and the other patients. | |
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The Times of Harvey Milk: Used heavily throughout the movie, with many many pictures being panned and zoomed. Possibly the most notable instance comes when a newspaper photo of Dan White (Milk's murderer) is shown as his confession plays. As the audio clip goes on, the camera zooms in on White very very slowly, ending with a tight closeup on his eyes. | |
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Butch Cassidy and the Sundance Kid uses this to liven up the photo montage that illustrates the gang's trip to New York City and thence to South America. | |
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The Ken Burns Effect | |
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Atop the Fourth Wall uses this to show panels from the reviewed comics. | |
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The Ken Burns Effect | |
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In the 1997 informative video The Kids Guide to the Internet, the webpages of 1997 were small and text-heavy. To make it visible to the viewer, the page is zoomed in and panned left to right. | |
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Still pictures and this trope are used in The Life and Times of Judge Roy Bean for a comic Time Passes Montage, which shows Roy's posse doing stuff like catching a bad guy in an outhouse and catching another bad guy seemingly about to violate a sheep. | |
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The Ken Burns Effect | |
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The season 3 episode of Community titled "Pillows and Blankets" uses this camera technique to full effect - fittingly enough, since it's a parody of Ken Burns documentaries (especially The Civil War). | |
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The Ken Burns Effect | |
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Attack on Titan does this a lot as a cost cutting measure. | |
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The Ken Burns Effect | |
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Used in several episodes of Spaced, with comics (instead of photographs) telling the story. | |
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The Ken Burns Effect | |
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While SCP-3972 mostly uses Stock Footage, at times it features static images being panned and zoomed. It's not called "Ken Burns presents: SCP-3972" for nothing! | |
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The Ken Burns Effect | |
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The 1963 adaptation of Lord of the Flies used this effect to depict the events leading up to the plane crash. | |
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The Ken Burns Effect | |
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The Sorrow and the Pity: Used periodically throughout the movie. In one quite effective shot the camera shows Marshal Petain, then pans over to show Hitler on the other side of the picture, thus illustrating the Franco-German summit in 1940. | |
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In Horus: Prince of the Sun, due to time and budget constraints some of the battles weren't animated, opting instead for fast-panning stills. | |
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The Ken Burns Effect | |
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Parts of the Last Exile ending sequence consist of pans over old photos. | |
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Ultra Fast Pony: The episode "Time" is a parody of documentaries, so the opening and closing scenes feature extensive panning and zooming over still images. | |
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The Ken Burns Effect | |
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Black and White in Color uses this throughout the opening credits, which play over a series of era-appropriate early 1900s still pictures of French soldiers. It's a film set in a French colony in Africa in 1915. | |
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Gates of Heaven: Used only once, when Phillip Harbert points to a framed photo of William James, and the camera pans over the photo while Harbert recites a James quote: "Emotions are not always subject to reason but they are always subject to action." | |
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Hearts and Minds: Used sparingly, as the film is mostly live footage. One instance shows a picture of Ho Chi Minh, then zooms out from the picture as Senator Fulbright muses about how Ho wrote to the United States government in 1946, expecting support for a rebellion against colonial oppression. | |
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The Ken Burns Effect | |
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Subverted in The Facts in the Case of Mister Hollow. The film consists of pans and zooms over a strange photograph, but the camera not only moves past obstacles to view impossible angles, the image changes when the viewer isn't looking. | |
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The Ken Burns Effect | |
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War Thunder has this on the loading screens, but with the panning controlled by the user's mouse. | |
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The Ken Burns Effect | |
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Also used by the intro to the final season of The Virginian ("The Men from Shiloh"). | |
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The Ken Burns Effect | |
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Walking: Before all the shots of people walking, there are several stills of people not walking—sitting in cars, at home in apartments, waiting on a bus. The camera glides over these stills, which act in contrast to the exuberant motion of the people walking. | |
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The Ken Burns Effect | |
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.hack//SIGN uses the Limited Animation variant of this trope. | |
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The Ken Burns Effect | |
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Belladonna of Sadness: Takes Limited Animation to its logical extreme, as much of the film is simply a camera panning and zooming around still drawings. | |
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The Ken Burns Effect | |
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9/11, the accidental documentary made when two French filmmakers were on the scene for the attack on the World Trade Center in 2001, uses this when showing a still photo of a chaplain's dead body being taken out of the WTC. | |
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The Ken Burns Effect | |
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Classic Albums: The camera will zoom in on still pictures or details of the album covers. | |
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The Ken Burns Effect | |
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Mystery Science Theater 3000: In the episode The Christmas That Almost Wasn't, the movie uses this effect for one scene near the end. So they parody it by also using this effect in the final host segment, with the various characters exchanging gifts. | |
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The Ken Burns Effect | |
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Days of Heaven uses this throughout the opening credits, which play over a series of era-appropriate 1920s still pictures. | |
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The Ken Burns Effect | |
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When We Were Kings: We see a grainy newspaper photo of reporters George Plimpton and Norman Mailer, staring in open-mouthed astonishment. The camera then zooms out to reveal that it's a picture of George Foreman tumbling to the ground as he's knocked out by Muhammad Ali. | |
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The Ken Burns Effect | |
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O.J.: Made in America uses this trope fairly sparingly, usually with slight zooms meant to focus attention on the subject of a picture, commonly O.J. Simpson. | |
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The Ken Burns Effect | |
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OFF slowly pans the camera across detailed black-and-white illustrations while explaining each zone's particular industry, e.g. farming cattle for metal. | |
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The Ken Burns Effect | |
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All of Code Geass closing credits. | |
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The Ken Burns Effect | |
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The last reel of silent film Sadie Thompson has been lost due to decay of the negative. When Kino released the film on DVD, they included a "restored" ending that used still pictures from the set along with the original dialogue. The DVD employs the Ken Burns Effect, panning and zooming to make the still pictures more lively. | |
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The Ken Burns Effect | |
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Fate/stay night does this with its fight-scene artwork but using faster and more dramatic camera effects than the typical occurrence of this trope. | |
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The Ken Burns Effect | |
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The Last Metro: A lot of quick panning and zooming of still photos in the opening montage in which an unseen narrator explains the setting (Paris during the German occupation of World War II). | |
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The Ken Burns Effect | |
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Similar to the Sadie Thompson example above, many official and fan-made reconstructions of missing Doctor Who episodes use this technique on set photos and sceencaps (alongside clips from existing episodes, CGI, and composited images) timed to the existing audio. | |
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The Ken Burns Effect | |
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In fact, this effect is quite common on YouTube. If you are uploading an audio recording but lack an accompanying video (for example, a song without a music video), you need some kind of video to go along with an audio. Many YouTube videos use the Ken Burns Effect to pan and zoom still pictures while the audio plays. See this video (of an old Linda Ronstadt tune) for an example. | |
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The Ken Burns Effect / int_c720f71e | |
| The Ken Burns Effect / int_d3bf3aaf | type |
The Ken Burns Effect | |
| The Ken Burns Effect / int_d3bf3aaf | comment |
The Christmas That Almost Wasn't uses this for the ending montage of Santa delivering presents. | |
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The Ken Burns Effect / int_d3bf3aaf | |
| The Ken Burns Effect / int_d4626532 | type |
The Ken Burns Effect | |
| The Ken Burns Effect / int_d4626532 | comment |
Grimgar of Fantasy and Ash does something similar as well in some scenes, especially in the ending theme's animation. | |
| The Ken Burns Effect / int_d4626532 | featureApplicability |
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The Ken Burns Effect / int_d4626532 | |
| The Ken Burns Effect / int_d7476775 | type |
The Ken Burns Effect | |
| The Ken Burns Effect / int_d7476775 | comment |
Used extensively in Amy, possibly because that film eschews another documentary trope, Talking Heads. One particularly chilling instance has a Ken Burns pan on a grainy photo of Amy Winehouse suddenly freeze as her friends talk about her first overdose. | |
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The Ken Burns Effect / int_d7476775 | |
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The Ken Burns Effect | |
| The Ken Burns Effect / int_ea3312ca | comment |
I Am Joaquin: Used nonstop from the beginning to the end, in a 20-minute short film about the history of the Chicano people and their culture. There is no live footage in the movie, just 20 minutes of still photographs, with the camera panning and zooming to bring the photos to life. | |
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The Ken Burns Effect / int_ea3312ca | |
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The Ken Burns Effect | |
| The Ken Burns Effect / int_f078635 | comment |
Battles Without Honor and Humanity uses this in the recap of the events that begins each film, and during some transition sequences. | |
| The Ken Burns Effect / int_f078635 | featureApplicability |
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The Ken Burns Effect / int_f078635 | |
| The Ken Burns Effect / int_f1b19a37 | type |
The Ken Burns Effect | |
| The Ken Burns Effect / int_f1b19a37 | comment |
Three Brothers: Both pans and zooms used when Raffaele is looking over the crime scene photos of a judge, like him, who was assassinated by terrorists. | |
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The Ken Burns Effect / int_f1b19a37 | |
| The Ken Burns Effect / int_fbae2712 | type |
The Ken Burns Effect | |
| The Ken Burns Effect / int_fbae2712 | comment |
Hoop Dreams is mostly live-action but uses this trope occasionally, such as when the camera zooms in on Spinning Paper news articles or when it zooms in on Arthur's middle-school yearbook photo. | |
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The Ken Burns Effect / int_fbae2712 | |
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The Ken Burns Effect | |
| The Ken Burns Effect / int_ffc9bcc1 | comment |
The opening credits of Soylent Green use this effect to portray the progression of life in the US from the wide-open prairies of the turn of the late 19th century to the polluted, overcrowded cities of 1970. | |
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