Enkhuizen: Meeting again

A movie remake uses an earlier movie as its main source material, rather than returning to the earlier movie's source material.
With the exception of shot-for-shot remakes, most remakes make significant changes in character, plot, genre, and theme. Sometimes a remake is made by the same director. Not all remakes use the same title as the previously released version. Remakes are rarely sequels to the original film. In this situation, essentially the remake repeats the same basic story of the original film and may even use the same title, but also contains notable plot and storyline elements indicating the two films are set in "the same universe". The Italian film Perfect Strangers was included in the Guinness World Records as it became the most remade film in cinema history, with a total of 18 versions of the film.

Tropics Museum

Digital methods have also been used to restore films, although their continued obsolescence cycle makes them a poor choice for long-term preservation. Film preservation of decaying film stock is a matter of concern to both film historians and archivists and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue). Preservation is generally a higher concern for nitrate and single-strip color films, due to their high decay rates; black-and-white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage. 

Polk'art in museum garden

With the development of analog sound recording, though, a performance could be permanently fixed, in all of its elements: pitch, rhythm, timbre, ornaments and expression. This meant that many more elements of a performance would be captured and disseminated to other listeners. The development of sound recording also enabled a much larger proportion of people to hear famous orchestras, operas, singers and bands, because even if a non-wealthy person could not afford to hear the live concert, she or he might be able to afford to buy the recording. The availability of sound recording thus helped to spread musical styles to new regions, countries and continents.

Schellingwoude (Amsterdam county)

Lighting
The intensity, direction, and quality of lighting can influence an audience's understanding of characters, actions, themes and mood. Light (and shade) can emphasize texture, shape, distance, mood, time of day or night, season, glamour; it affects the way colors are rendered, both in terms of hue and depth, and can focus attention on particular elements of the composition. Highlights, for example, call attention to shapes and textures, while shadows often conceal things, creating a sense of mystery or fear. For this reason, lighting must be thoroughly planned in advance to ensure its desired effect on an audience. Cinematographers are a large part of this process, as they coordinate the camera and the lighting.

From canal to river

A film treatment (or simply treatment) is a piece of prose, typically the step between scene cards (index cards) and the first draft of a screenplay for a motion picture, television program, or radio play. It is generally longer and more detailed than an outline (or one-page synopsis), and it may include details of directorial style that an outline omits. Treatments read like a short story, but are told in the present tense and describe events as they happen.

Along the Zaan river

In filmmaking, the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. By keeping the camera on one side of an imaginary axis between two characters, the first character is always frame right of the second character. Moving the camera over the axis is called jumping the line or crossing the line; breaking the 180-degree rule by shooting on all sides is known as shooting in the round.

The 180-degree rule enables the audience to visually connect with unseen movement happening around and behind the immediate subject and is particularly important in the narration of battle scenes. 

The dyke (Volendam)

Cosplay a portmanteau of the words costume play, is a performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject and it is not unusual to see genders switched. Favorite sources include anime, cartoons, comic books, manga, television series, and video games.

East Island

Although the origins of the music video date back to musical short films that first appeared in the 1920s, they again came into prominence in the 1980s when the channel MTV (originally "Music Television") based their format around the medium. Prior to the 1980s, these kinds of videos were described by various terms including "illustrated song", "filmed insert", "promotional (promo) film", "promotional clip", "promotional video", "song video", "song clip" or "film clip".

PAIK: Electronic art

Nam June Paik
The Future is Now

Largest overview in years of Nam June Paik: artist, visionary and pioneer. Paik saw early on what the impact of mass media would be. He introduced the term "electronic highway", for example, predicting the future of communication in the current internet era as early as the 1970s. His work is multidisciplinary, experimental, innovative and playful and has a great influence on the generations after him.

The End: Hem Zaanstad

On the mysterious site, behind high fences and strict security, the Artillerie Inwoningen started producing firearms, artillery and ammunition for the Dutch army from 1895. The site was carefully chosen behind the defense line of the Amsterdam position, from the heart of the position the factory was able to supply the army with weapons and ammunition.

Over the years there has been a lot of construction and demolition on the site. Due to the function of the factory and the risk of explosion, the site has characteristic buildings such as those with semicircular roofs that had to conduct a possible shock. The position of the buildings and the layout of the outdoor space, such as the earthen walls and the poppy forest, were also aimed at limiting the damage in the event of an explosion. The result is a factory site that is unique in the Netherlands.

Twiske playground

Match cuts form the basis for continuity editing, such as the ubiquitous use of match on action. Continuity editing smooths over the inherent discontinuity of shot changes to establish a logical coherence between shots. Even within continuity editing, though, the match cut is a contrast both with cross-cutting between actions in two different locations that are occurring simultaneously, and with parallel editing, which draws parallels or contrasts between two different time-space locations.

Roof (amsterdam)

;Match cuts form the basis for continuity editing, such as the ubiquitous use of match on action. Continuity editing smooths over the inherent discontinuity of shot changes to establish a logical coherence between shots. Even within continuity editing, though, the match cut is a contrast both with cross-cutting between actions in two different locations that are occurring simultaneously, and with parallel editing, which draws parallels or contrasts between two different time-space locations.

Dutch polder village

A graphic match (as opposed to a graphic contrast or collision) occurs when the shapes, colors and/or overall movement of two shots match in composition, either within a scene or, especially, across a transition between two scenes. Indeed, rather than the seamless cuts of continuity editing within a scene, the term "graphic match" usually denotes a more conspicuous transition between (or comparison of) two shots via pictorial elements. A match cut often involves a graphic match, a smooth transition between scenes and an element of metaphorical (or at least meaningful) comparison between elements in both shots.
A match cut contrasts with the conspicuous and abrupt discontinuity of a jump cut. 

 

NEMO science museum

The 30-degree rule is a basic film editing guideline that states the camera should move at least 30 degrees relative to the subject between successive shots of the same subject. If the camera moves less than 30 degrees, the transition between shots can look like a jump cut—which could jar the audience and take them out of the story. The audience might focus on the film technique rather than the narrative itself.

La Devesa Girona

Light is necessary to create an image exposure on a frame of film or on a digital target (CCD, etc.). The art of lighting for cinematography goes far beyond basic exposure, however, into the essence of visual storytelling. Lighting contributes considerably to the emotional response an audience has watching a motion picture. The increased usage of filters can greatly impact the final image and affect the lighting.

Backgarden of Amsterdam

Dubbing, mixing or re-recording, is a post-production process used in filmmaking and video production in which additional or supplementary recordings are lip-synced and "mixed" with original production sound to create the finished soundtrack.
The process usually takes place on a dub stage. After sound editors edit and prepare all the necessary tracks – dialogue, automated dialogue replacement (ADR), effects, Foley, music – the dubbing mixers proceed to balance all of the elements and record the finished soundtrack.

Outside the film industry, the term "dubbing" commonly refers to the replacement of the actor's voices with those of different performers speaking another language, which is called "revoicing" in the film industry.

Austria National Park

Continuity editing can be divided into two categories: temporal continuity and spatial continuity. Within each category, specific techniques will work against a sense of continuity. In other words, techniques can cause a passage to be continuous, giving the viewer a concrete physical narration to follow, or discontinuous, cau

Experiments

Synthetic media technology currently enables these forms of manipulation: • Add and remove objects within a video more easily • Alter background conditions in a video. For example, changing the weather to make a video shot in summer appear as if it was shot in winter • Fake face or body movements: Simulate and control a realistic video representation of the lips, facial expressions or body movement of a specific individual (for example to make it appear they were drunk). • Fake lip-sync: Match an audio track to a realistic manipulation of someone’s lips to make it look like they said something they never did • Fake voice: Generate a realistic simulation of a specific person’s voice • Change a voice’s gender or make it sound like someone else: Modify an existing voice with a “voice skin” of a different gender, or of a specific person • Create a realistic but totally fake photo of a person who does not exist. The same technique can also be applied less problematically to create fake hamburgers, cats, etc. • Transfer a realistic face from one person to another, the most commonly known form of “deepfake” 

Lunapark

 

 

The earliest films had been shown in "peep show" machines or projected in vaudeville theaters as one of the otherwise live acts. Nickelodeons drastically altered film exhibition practices and the leisure-time habits of a large segment of the American public. Although they were characterized by continuous performances of a selection of short films, added attractions such as illustrated songs were sometimes an important feature. Regarded as disreputable and dangerous by some civic groups and municipal agencies, crude, ill-ventilated nickelodeons with hard wooden seats were outmoded as longer films became common and larger, more comfortably furnished motion-picture theaters were built, a trend that culminated in the lavish "movie palaces" of the 1920s. Film historian Charles Musser wrote: "It is not too much to say that modern cinema began with the nickelodeons.