Baldocchi is the flower shop Madeleine visits as she is being followed by Scottie. The shop's location at the time of filming was 224 Grant Avenue. The Podesta Baldocchi flower shop now does business from a location at 410 Harriet Street. The Empire Hotel is a real place, called the York Hotel, and now (as of January 2009) the Hotel Vertigo at 940 Sutter Street. Judy's room was created, but the green neon of the "Hotel Empire" sign outside is based on the actual hotel's sign (it was replaced when the hotel was renamed). Ernie's (847 Montgomery St.) was a real restaurant in Jackson Square, one mile from Scottie's apartment. It is no longer operating. One short scene shows Union Square at dawn. Pop Leibel's bookstore, the Argosy, was not a real location, but one recreated on the Paramount lot in imitation of the real-life Argonaut Book Store, which still exists near Sutter and Jones. Elster's fictitious Dogpatch shipyard office was filmed at the real (or simulated with mattes) Union Iron Works shipyard, by then the post-WW2 Bethlehem Steel shipyard. Elster's office has a MIssion telephone exchange (MI or 64) prefix, regarding which Midge says "Why, that's Skid Row", probably because the city's southern MIssion exchange served all of the south-of-slot (SoMa today) and southern (Mission District) phones, and this shipyard area of course met the description of a Skid Row. Subsequent studio shooting Following 16 days of location shooting, the production moved to Paramount's studios in Hollywood for two months of filming. Hitchcock preferred to film in studios as he was able to control the environment. Once sufficient location footage had been obtained, interior sets were designed and constructed in the studio. Hitchcock popularized the dolly zoom in this film, leading to the technique's sobriquet, amongst several others, "the Vertigo effect". This "dolly-out/zoom-in" method involves the camera physically moving away from a subject whilst simultaneously zooming in (a similar effect can be achieved in reverse), so that the subject retains its size in the frame, but the background's perspective changes. Hitchcock used the effect to look down the tower shaft to emphasise its height and Scottie's disorientation. Following difficulties filming the shot on a full-sized set, a model of the tower shaft was constructed, and the dolly zoom was filmed horizontally. The "special sequence" (Scottie's nightmare sequence) was designed by artist John Ferren, who also created the painting of