Dolly Shot
The camera travels back in a smooth straight line, keeping its distance from the group coming at it while the passage stretches out behind them.
Dolly Shot AI Video Prompt
Dolly shot: The camera moves backward in a straight line in front of Ruk, facing the five as they make a short burst of acceleration and a sprint. Ruk clearly checks his stride and stops, looks back to check on the group, and the other four catch up and keep their distance; once he has seen them, he turns forward again and sets off toward the fork. The camera's backward travel follows the actual distance covered in this stretch, and the stone stair entrance in the background clearly recedes.
Camera Control
The camera is in front of Ruk and backs straight down the middle of the tunnel at about his chest height. Ruk stays just below center frame with his four companions lined up behind him; the oil lamps on both walls slide out of frame one after another, and the light from the stair entrance, visible in the background at the start, is soon blocked by the group.
What makes a dolly shot is that the camera itself travels, along a straight path at a steady speed. In the prompt, say whether the camera is ahead of or behind the subject and which way it moves, and tie how far it travels to how far the characters actually go: when they stop, the camera slows with them, or the subject will grow and shrink in the frame. When Ruk pulls up here to check on the group, his size in frame barely changes because the camera slows down with him.
To bring a group toward the audience while keeping the road behind them in view, write a backward dolly into your storyboard and build it in fuse, an AI film maker.
Story Clip
Source film EP4 Shot 2 · Tunnel · 00:00–00:05
Ruk leads the way through the stone tunnel, with Biwa carrying the sealed box and MeiHua, Suseka and White close behind. He slows, looks back at the group, then turns forward and runs on.
What to Watch For
Watch the oil lamps on the walls: as the camera backs up they slide out past the edges of the frame one by one, and the stair entrance in the background disappears behind the group after the first second. Around the two-second mark Ruk pulls up and turns to look at the others, then faces forward again after the third second and sets off. He stays near the center of the frame the whole time and hardly changes size, because the camera's movement follows his pace.