City Street Scenes

 

 

 A scene is a part of a film, as well as an act, a sequence (longer or shorter than a scene), and a setting (usually shorter than a scene). While the terms refer to a set sequence and continuity of observation, resulting from the handling of the camera or by the editor, the term "scene" refers to the continuity of the observed action: an association of time, place, or characters. The term may refer to the division of the film from the screenplay, from the finished film, or it may only occur in the mind of the spectator who is trying to close on a logic of action. For example, parts of an action film at the same location, that play at different times can also consist of several scenes. Likewise, there can be parallel action scenes at different locations usually in separate scenes, except that they would be connected by media such as telephone, video, etc. 

 

Broek in Waterland

 

 

A point of view shot (also known as POV shot, first-person shot or subjective camera) is a film scene—usually a short one—that is shot as if through the eyes of a character (the subject). The camera shows what the subject's eyes would see. It is usually established by being positioned between a shot of a character looking at something, and a shot showing the character's reaction (see shot reverse shot). The POV technique is one of the foundations of film editing.

Van der Pek quarter

 

 

Mise-en-scène has been called film criticism's "grand undefined term. It has been criticized for its focus on the dramatic design aspects rather than the plot itself, as those who utilize mise-en-scène tend to look at what is "put before the camera" rather than the story. The use of mise-en-scène is significant as it allows the director to convey messages to the viewer through what is placed in the scene, not just the content of the scene. Mise-en-scène allows the director to not only convey their message but also to implement their aesthetic. With that, each director has their own sort of mise-en-scène that is unique to that one person. Mise-en-scène refers to everything in front of the camera, including the set design, lighting, and actors, and the ultimate way that this influences how scene comes together for the audience. 

 

Dageraad architecture

 

Museum De Dageraad Behind the wave-shaped facade of the famous working-class housing complex De Dageraad, you will find information about the art and architecture of the Amsterdam School. At the beginning of the last century, H.P. Berlage designed the now famous Plan Zuid. He introduced a new way of urban planning, in which there was room for wide streets, atmospheric squares and green parks. The characteristic architecture of the many Amsterdam School artists still adorns the street plan. The expressionistic facades and beautiful ornaments are recognizable throughout the neighborhood.

Residential complex De Dageraad is the Amsterdam School in its purest form. Architects Michel de Klerk and Piet Kramer were commissioned to design all facets of the streetscape. 

 

Edam village

 

 

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 may look like a jump cut, which could jar the audience and take them out of the story by causing them to focus on the film technique rather than the narrative itself

 

Oriental Diva's

>Diva is the Latin word for a goddess. It has often been used to refer to a celebrated woman of outstanding talent in the world of opera, theatre, cinema, fashion and popular music. If referring to an actress, the meaning of diva is closely related to that of prima donna. Diva can also refer to a person, especially one in show business, with a reputation for being temperamental or demanding. The 1940s, 1950s and the 1960s are generally considered the golden age of Egyptian cinema. In the 1950s, Egypt's cinema industry was the world's third largest.As in the West, films responded to the popular imagination, with most falling into predictable genres (happy endings being the norm), and many actors making careers out of playing strongly typed parts.

 

Amstelveen

 

 

Bridging shot A shot used to cover a jump in time or place or other discontinuity. Examples are a clock face showing advancing time, falling calendar pages, railroad wheels, newspaper headlines and seasonal changes. Bridge shots are also used to avoid jump cuts when inserting a pick-up.

 

On the way in Amsterdam

 

 

Many web sites include videos. Although not necessarily produced online, many video production tools allow the production of videos without actually using a physical camera. An example of this is using the YouTube video editor to create a video using pre-existing video content that is held on the platform under Creative Commons license. Video content is being used in an ever-growing range of contexts, including testimonial videos, web presenter videos, help section videos, interviews, parodies, product demonstrations, training videos, and thank you videos. 

 

 

The new Snow White

 

Why is Disney’s Snow White Under Fire? The controversy surrounding the film began before a trailer was released. Disney decided to give a modern twist to the classic fairy tale, which did not go down well with everyone. Actress Rachel Zegler, a Latina, was cast as Snow White, which led to discussions about staying true to the original. Snow White is no longer kissed awake by the prince, because the filmmakers consider this an outdated and problematic element. 

 

 

 

Tarkovsky exhibition

 

 

 

All kinds of Amsterdam

 

 

 There are many different types of video production. The most common include film and TV production, television commercials, internet commercials, corporate videos, product videos, customer testimonial videos, marketing videos, event videos, wedding videos. The term "Video Production" is reserved only for content creation that is taken through all phases of production (Pre-production, Production, and Post-production) and created with a specific audience in mind. A person filming a concert, or their child's band recital with a smartphone or video camera for the sole purpose of capturing the memory would fall under the category of "home movies" not video production.

Indonesia for sale

 

 

Media activism is a broad category of activism that utilizes media and communication technologies for social and political movements. Methods of media activism include publishing news on websites, creating video and audio investigations, spreading information about protests, or organizing campaigns relating to media and communications policies. Social media is often used as a form of media activism. Because of the interactive features and widespread adoption, users can quickly disseminate information and rally supporters.[8] Platforms like Facebook and Twitter can reach a much larger audience than traditional media. Although often only a small percentage of people who express interest in a cause online are willing to commit to offline action, social media interaction is viewed as "the first step in a ladder of engagement".

Tarkovsky: filming fire

 

 

Cinematic style In a 1962 interview, Tarkovsky argued: "All art, of course, is intellectual, but for me, all the arts, and cinema even more so, must above all be emotional and act upon the heart." His films are characterized by metaphysical themes, extremely long takes, and images often considered by critics to be of exceptional beauty. Recurring motifs are dreams, memory, childhood, running water accompanied by fire, rain indoors, reflections, levitation, and characters re-appearing in the foreground of long panning movements of the camera.

Tarkovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another.

Mad Nest

 

 

Mad Nest is the second Parisian film by Tajiri. It is a collage-like film in which Tajiri uses different techniques and image material. A large part of the film consists of images that were created by drawing or scratching directly on the film material; these were techniques that were increasingly popular within the pre-war avant-garde.Tajiri contrasts these animation techniques with live action images: his own home movie-like recordings and found footage images. He also manipulates this footage, by colouring it, showing it in reverse or upside down, or by playing it backwards.

Filming water: Tarkovsky way

 

 

 In filmmaking, a long take (also called a continuous take, continuous shot, or oner) is shot with a duration much longer than the conventional editing pace either of the film itself or of films in general. Significant camera movement and elaborate blocking are often elements in long takes, but not necessarily so. The term "long take" should not be confused with the term "long shot", which refers to the distance between the camera and its subject and not to the temporal length of the shot itself. The length of a long take was originally limited to how many film the magazine of a motion picture camera could hold, but the advent of digital video has considerably lengthened the maximum potential length of a take.

 

Openheimer film music

 

 

Film scores encompass an enormous variety of styles of music, depending on the nature of the films they accompany. While the majority of scores are orchestral works rooted in Western classical music, many scores are also influenced by jazz, rock, pop, blues, new-age and ambient music, and a wide range of ethnic and world music styles. Since the 1950s, a growing number of scores have also included electronic elements as part of the score, and many scores written today feature a hybrid of orchestral and electronic instruments. Since the invention of digital technology and audio sampling, many modern films have been able to rely on digital samples to imitate the sound of acoustic instruments, and many scores are created and performed wholly by the composers themselves, by using music composition software, synthesizers, samplers, and MIDI controllers. 

 

Fishing Village on Madeira

 

 

Excellent. Probably using Kodachrome film (because the colors are natural). Many people don't realize this, but film quality went back a long way when people stopped using Super 8 and started using VHS-C. It took more than 20 years for digital film quality to catch up to where Super 8 was in the 1970s. And maybe you could say that Super 8 still beats modern video in low light filming performance, and detail in shadows, and in natural look of the film . 

 

IMAX according to Hoyte

 

 

 I have to say I love big format. I always loved medium format photography for instance. It's exposing a bigger negative. It's not only that the definition and color rendering is beautiful but also, it creates this very beautiful short depth of field. So it's the most pristine format you can have but at the same time it's so textured because of the way the lens is rendered on a negative that big. The sharpness and the clarity and the depth of the image is unparalleled. The headline, for me, is by shooting on IMAX 70mm film, you’re really letting the screen disappear. You’re getting a feeling of 3D without the glasses. You’ve got a huge screen and you’re filling the peripheral vision of the audience. You’re immersing them in the world of the film. 

I have to say I love film above all. I have the most affinity with celluloid and I feel most comfortable shooting that. But the whole thing about film versus digital, I mean the biggest mistake with it is that it's always presented as film versus digital. I don't think that one thing rules out the other and I don't think that one thing is better than the other.

Willemstad (NB)

 

 

Continuity editing is the process, in film and video creation, of combining more-or-less related shots, or different components cut from a single shot, into a sequence to direct the viewer's attention to a pre-existing consistency of story across both time and physical location. Often used in feature films, continuity editing, or "cutting to continuity", can be contrasted with approaches such as montage, with which the editor aims to generate, in the mind of the viewer, new associations among the various shots that can then be of entirely different subjects, or at least of subjects less closely related than would be required for the continuity approach. When discussed in reference to classical Hollywood cinema, it may also be referred to as classical continuity. 

 

Assisi

 

 

Tracking shots are where the camera follows or moves with a character. This usually means having the camera off the tripod, with the camera operator holding the camera. The camera can track a character by following them from behind, or the camera operator can walk backward and film a character as they walk forwards. Some things to remember about tracking shots is you want the camera to still move smoothly and not shake and needs to keep the subject of the shot in focus. Also if you're camera operator is walking backwards to get a forward-facing tracking shot, someone should help them not trip over anything!