16mm warfootage

16 mm film was introduced by Eastman Kodak in 1923 as an inexpensive amateur alternative to the conventional 35 mm film format. During the 1920s the format was often referred to as sub-standard film by the professional industry. Initially directed toward the amateur market, Kodak hired Willard Beech Cook from his 28 mm Pathescope of America company to create the new 16 mm Kodascope Library. In addition to making home movies, one could buy or rent films from the library, one of the key selling aspects of the format. As it was intended for amateur use, 16 mm film was one of the first formats to use acetate safety film as a film base, and Kodak never manufactured nitrate film for the format due to the high flammability of the nitrate base. 35 mm nitrate was discontinued in 1952.

Mountainstate Norway

Norway has had a notable cinema industry for some time. In the early 21st century a few Norwegian film directors have had the opportunity to go to Hollywood to direct various independent films. As of 2011, there had been nearly 900 films produced in Norway, with a third of these being made in the last 15 years.

 

Equestrian sport

Telecine is the process of transferring motion picture film into video and is performed in a color suite. The term is also used to refer to the equipment used in the post-production process. Telecine enables a motion picture, captured originally on film stock, to be viewed with standard video equipment, such as television sets, video cassette recorders (VCR), DVD, Blu-ray Disc or computers. This allows film producers, television producers and film distributors working in the film industry to release their products on video and allows producers to use video production equipment to complete their filmmaking projects. Within the film industry, it is also referred to as a TK, because TC is already used to designate timecode.

 

Playing in Norway

Packaged movies

Although the 8 mm format was originally intended for creating amateur films, condensed versions of popular cinema releases were available up until the mid-1980s, for projection at home. These were generally edited to fit onto a 200 ft (61 m) or 400 ft (120 m) reel. Many Charlie Chaplin films, and other silent movies were available. The Walt Disney Studio released excerpts from many of their animated feature films, as well as some shorts, in both Standard and Super 8, some even with
magnetic sound. New releases of material were not stopped by major studios until the mid-1980s in the US. Releases of trailers, shorts, and a few feature films still continues in the UK.

 

Copy Right and Wrong

A sample, and I have more, of the usage of images of mine (commercial use not allowed) by the mafioso music-industry to make money. And what's more: published on site's which maintain for amateurs ridiculous and highly questionable rules on copyright infringements.

As an individual and amateur you have hardly any chance against these dubious practices.

 

Memories in super 8 (2)

Amateur usage of Super 8 has been largely replaced by video, but the format is often used by professionals in music videos, TV commercials, and special sequences for television and feature film projects, as well as by many visual artists. For a professional cinematographer, Super 8 is another tool to use alongside larger formats. Some seek to imitate the look of old home movies, or create a stylishly grainy look.

Thanks to over a dozen film stocks and certain features common in Super 8 cameras but unavailable in video camcorders–notably the ability to expose single frames and shoot at several non video standard frame rates, including time-exposure and slow motion–Super 8 provides an ideal inexpensive medium for traditional stop-motion and cel animation and other types of filming speed effects not common to video cameras.

Figaro

This is one of my first video's. The camera was a sony digital8 camera. This event took place in the pub next to our clubhouse. Nothing was played, nor rehearsed. Note the existings poorlight condtions.
* Figaro, the central character in the comedies, Le Barbier de Séville, The Marriage of Figaro, and The Guilty Mother by Pierre de Beaumarchais and their operatic adaptations.
The story follows a traditional Commedia dell'Arte structure, with many characters seemingly based on famous stock characters.