Espana del Norte

A slide presentation about this part of Spain

A film is a ribbon of dreams. The camera is much more than a recording apparatus; it is a medium via which messages reach us from another world that is not ours and that brings us to the heart of a great secret. Here magic begins.

Orson Welles

Cinema Europa

The history of film began in the 1890s, with the invention of the first motion-picture cameras and the establishment of the first film production companies. The films of the 1890s were under a minute long and until 1927, motion pictures were produced without sound. The first eleven years of motion pictures show the cinema moving from a novelty to an established large-scale entertainment industry. The films became several minutes long consisting of several shots. The first rotating camera for taking panning shots was built in 1897. The first film studios were built in 1897. Special effects were introduced and film continuity, involving action moving from one sequence into another, began to be used. In 1900, continuity of action across successive shots was achieved and the close-up shot was introduced. Most films of this period were what came to be called "chase films". The first use of animation in movies was in 1899. The first feature length multi-reel film was a 1906 Australian production. The first successful permanent theatre showing only films was "The Nickelodeon" in Pittsburgh in 1905. By about 1910, actors began to receive screen credit for their roles, and the way to the creation of film stars was opened. Regular newsreels were exhibited from 1910 and soon became a popular way for finding out the news. Overall, from about 1910, American films had the largest share of the market in all European countries except France.

Cinemagician

 

Marie-Georges-Jean Méliès, known as Georges Méliès 8 December 1861 – 21 January 1938), was a French illusionist and filmmaker famous for leading many technical and narrative developments in the earliest days of cinema. Méliès, a prolific innovator in the use of special effects, accidentally discovered the substitution stop trick in 1896, and was one of the first filmmakers to use multiple exposures, time-lapse photography, dissolves, and hand-painted color in his work. Because of his ability to seemingly manipulate and transform reality through cinematography, Méliès is sometimes referred to as the first "Cinemagician".His films include A Trip to the Moon (1902) and The Impossible Voyage (1904), both involving strange, surreal journeys somewhat in the style of Jules Verne, and are considered among the most important early science fiction films, though their approach is closer to fantasy.

Trippel Dutch

A home movie is a short amateur film or video typically made just to preserve a visual record of family activities, a vacation or a special event and intended for viewing at home by family and friends. Originally, home movies were made on photographic film in formats that usually limited the movie-maker to about three minutes per roll of costly camera film. The advent of camcorders that could record an hour or two of video on one inexpensive videocassette, followed by digital video cameras that recorded to flash memory, and most recently smartphones with video recording capability, made the creation of home movies easier and much more affordable to the average person.

The technological boundaries between home-movie-making and professional movie-making are becoming increasingly blurred as prosumer equipment often offers features previously only available on professional equipment.

Lille Nord de France

Experimental film or experimental cinema is a type of cinema.Its origins can be found in European avant-garde movements of the twenties.

An experimental film is often characterized by the absence of linear narrative, the use of various abstracting techniques, asynchronous (non-diegetic) sound or even the absence of any sound track. Most such films are made on very low budgets, self-financed or financed through small grants, with a minimal crew. Experimental film emerged in Europe in the 1920s because cinema had matured as a medium and avant-garde movements in the visual arts were growing.

 

 

Ponts et Eaux

Underground
The term describes a range of filmmaking styles that are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking. Avant-garde is also used, for the films shots in the twenties in the field of history’s avant-gardes currents in France, Germany or Russia, to describe this work, and "underground" was used in the sixties, though it has also had other connotations. Today the term "experimental cinema" prevails, because it’s possible to make experimental films without the presence of any avant-garde movement in the cultural field.

Annecy

The Annecy International Animation Film Festival (Festival International du Film d'Animation d'Annecy, abbreviated as AIAFF) was created in 1960 and takes place at the beginning of June in the town of Annecy, France. Initially occurring every two years, the festival became annual in 1998. It is one of the four international animated film festivals sponsored by the Association Internationale du Film d'Animation (or ASIFA, the International Animated Film Association).

The festival is a competition between cartoon films of various techniques (animated drawings, cut-out papers, modelling clay, etc.) classified in various categories:

Serenata nocturna

This film Serenata Nocturna is the first puppet animation where Joop Geesink actively involved. The title indicates that it comes from the Geesink-Bearer studio, which still holds only in 1942 engaged in cartoon.

Credits
Title : Seranata Noctura
Client : Philips
Height : 3 minutes
Production Year : 1942
Format : 35 mm, black / white
Script: Joop Geesink & Marten Bearer
Dolls : Dopey Scheffer
Dolls Clothes : Phiny Dick (wife of marten Bearer)
Decors : Hagemeyer & Loek van Delden
Further staff Jan Duyfvetter, John van der Meulen and Bertus Outmayer

Nice Cote d' Azure

Focal length and diaphragm aperture affect the depth of field of a scene — that is, how much the background, mid-ground and foreground will be rendered in "acceptable focus" (only one exact plane of the image is in precise focus) on the film or video target. Depth of field (not to be confused with depth of focus) is determined by the aperture size and the focal distance. A large or deep depth of field is generated with a very small iris aperture and focusing on a point in the distance, whereas a shallow depth of field will be achieved with a large (open) iris aperture and focusing closer to the lens.

 

Masks (Annecy)

Masks play a key part within world theatre traditions, particularly non-western theatre forms. They also continue to be a vital force within contemporary theatre, and their usage takes a variety of forms.

In many cultural traditions the masked performer is a central concept and is highly valued. In the western tradition actors in Ancient Greek theatre wore masks, as they do in traditional Japanese Noh drama. In some Greek masks the wide and open mouth of the mask contained a brass megaphone enabling the voice of the wearer to be projected into the large auditoria. In medieval Europe masks were used in mystery and miracle plays to portray allegorical creatures, and the performer representing God frequently wore a gold or gilt mask. During the Renaissance masques and ballet de cour developed - courtly masked entertainments that continued as part of ballet conventions until the late eighteenth century. The masked characters of the Commedia dell'arte included the ancestors of the modern clown. In contemporary western theatre the mask is often used alongside puppetry to create a theatre which is essentially visual rather than verbal, and many of its practitioners have been visual artists.

Masks and puppets were often incorporated into the theatre work of European avant-garde artists from the turn of the nineteenth century. Alfred Jarry, Pablo Picasso, Oskar Schlemmer and other artists of the Bauhaus School, as well as surrealists and Dadaists, experimented with theatre forms and masks in their work.

Jeroen Bosch painter

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Making an animation such as this requires a lot of work and precision. First, Chris de Krijger made a collage of digital drawings, photography, patterns and hand-painted paint layers for each scene. He then cut out all moving parts and reconstructed them into landscapes and figures using the video processing programme Adobe After Effects. The giant in this video, for example, is made up of individual body parts. The movement is made by moving these a tiny bit frame by frame until he finally moves as intended. This so-called ‘cut-out technique’ was originally done with paper, but today it is done digitally. It is made in 25 frames per second, which means that for the 3 minutes of this video, around 4500 individual images had to be placed one after another. For Chris de Krijger, the technique offered the possibility of actually allowing the painting to come to life without him having to draw everything himself. It is now really Hieronymus Bosch’s giant that moves

Midi de France

 
Amateur films were usually shot on 16 mm film or on 8 mm film (Either Double-8 or Super-8) until the advent of cheap video cameras or digital equipment. The advent of digital video and computer based editing programs greatly expanded the technical quality achievable by the amateur and low-budget filmmaker. Amateur video has now become the choice for the low-budget filmmaker and has boomed into a very watched and even produced industry with the usage of VHS and digital video camcorders.

 

Uppsala traveling around

Image stabilization (IS) is a family of techniques used to reduce blurring associated with the motion of a camera or other imaging device during exposure. Generally, it compensates for pan and tilt (angular movement, equivalent to yaw and pitch) of the imaging device, although electronic image stabilization can also be used to compensate for rotation. It is used in image-stabilized binoculars, still and video cameras, and astronomical telescopes. With still cameras, camera shake is particularly problematic at slow shutter speeds or with long focal length (telephoto or zoom) lenses. With video cameras, camera shake causes visible frame-to-frame jitter in the recorded video. In astronomy, the problem of lens-shake is added to by variations in the atmosphere over time, which will cause the apparent positions of objects to change.

Deventer

 

The Documentary film of the Netherlands has long been renowned world wide. The most prominent Dutch directors, especially those who started their careers before World War II, came from a documentary background, for instance Joris Ivens and Bert Haanstra.
Documentaries still play an important part in Dutch film industry. The International Documentary Film Festival Amsterdam, held annually in November, is considered one of the largest documentary film festivals in the world.

Fyra Fiasco

Fyra was an international high-speed rail service between the Netherlands and Belgium using the AnsaldoBreda V250 train. The service used the HSL-Zuid and HSL 4 railway lines to connect Amsterdam, Schiphol Airport, Rotterdam, Antwerp and Brussels. Continuous technical difficulties suspended the service, and it was eventually permanently halted due to reliability and safety concerns.

The high profile project was a collaboration between NS International (a joint venture of NS and KLM) and NMBS/SNCB.

A Dutch domestic service also using HSL-Zuid was branded under the same name. Despite using the tracks built for high speed trains the service between Amsterdam and Breda uses conventional trains propelled by a TRAXX locomotive. Its name was changed into Intercity Direct to avoid confusion with the failed international service.

The name "Fyra" represents pride, and is derived from the Dutch word fier and the French word fière, both meaning proud. Fyra is also the Swedish word for four, and is said to represent the four important cities which the new trains were intended to serve — Amsterdam, Rotterdam, Antwerp and Brussels.

 

Painting with light

Light art takes over the Rijksmuseum by night
Starting March 25th, a unique light art night exhibition will be hosted at the Rijksmuseum. Inspired by Rembrandt’s work with light, artist Eelco van den Berg will use a cutting edge light technique to create the biggest portrait of inspiring people. Become part of the Rijksmuseum’s special Night Exhibition,

School-journey

A wonderful example

The archives of the Netherlands Institute for Sound and Vision in Hilversum, of EYE in Amsterdam, and of the National Archive in The Hague contain the visual history of the past 100 years. Films, documentaries, radio broadcast, and television programmes comprise more than 700.000 hours worth of material. The costs for creating this oeuvre have run into the billions. The educational, cultural, and economical value of this material is unprecedented.

The main goal of the project is realising maximum accessibility to the audiovisual material for the targeted user groups (educational institutions, the general public, and the creative sector). To reach this goal, Images for the Future is developing and offering innovative services and applications.

 

Light painting

Jason D. Page, Light Painting Documentary from Jason D. Page on Vimeo.
Light Painter Jason D. Page shines light into the darkness to find beauty where many would find unease. This 7 minute documentary explains what light painting is, how Jason discovered light painting, and why light painting is so significant in his life.

If you enjoy this film please share it!

See More Images At http://www.jasondpage.com
Friend me on Facebook: https://www.facebook.com/jasondpage
Follow me on Instagram: http://instagram.com/jasondpage_lightpainter

Produced and Directed by: Jacob Peterson
Filmed by: Jacob Peterson, John Bibbo, Chris Leidy, Geoff Dunn, Christie Page, Courtney Page
Surfing footage by: Jason D. Page
All still images are light paintings created by Jason D. Page

Music Credits:
Artist: M83
Song: "We Own The Sky"
Album: Saturdays = Youth

Artist: Linsey Stirling
Song: "Crystallize"
Album: Lindsey Stirling

Artist: Helen Jane Long
Song: "Echo"
Album: Porcelain

Special Thanks: Nana and Pops, Courtney, Mom, Christie, Christopher, Kendall Fabian, Geoff , Eric LaChance, Johnny, Carolina, Kristin, Rob @ Coast, Vicki DaSilva, and Dean Chamberlain.

Thank you to all my friends in the light painting community and all the Light Painting Pioneers:
Étienne-Jules Marey, Georges Demeny, Frank Gilbreth, Man Ray, Gjon Mili, Barbara Morgan, Jack Delano, Andreas Feininger, George Mathieu, David Lebe, Eric Staller, Dean Chamberlain, Jacques Pugin, Jozef Sedlák, Vicki DaSilva, Kamil Varga, John Hesketh, Tokihiro Sato, Troy Paiva, Bruno Mesrine, Patrick Rochon, Aurora Crowley, Arturo Aguiar, Lapp-Pro, JanLeonardo, Chanette Manso, Michael Bosanko, Pete Eckert, and the ones that I forgot....

Train trip in Scotland

On top of the works created by Scottish directors, there have been many successful non-Scottish films shot in Scotland. Mel Gibson’s Academy Award-winning Braveheart is perhaps the best-known and most commercially successful of these, having grossed $350,000,000 worldwide. The film won 5 Academy Awards, including ‘Best Picture’ and ‘Best Director’ and was nominated for additional awards. The film’s depiction of the Battle of Stirling Bridge, which the plot of the film surrounds, is often regarded as one of the greatest movie battles in cinema history.

Living pictures

To avoid violating Edison’s motion picture patents, Biograph cameras from 1895 to 1902 used a large-format film measuring 2-23/32 inches (68 mm) wide, with an image area of 2 × 2½ inches, four times that of Edison’s 35 mm format. The camera used friction feed, instead of Edison’s sprocket feed, to guide the film to the aperture. The camera itself punched a sprocket hole on each side of the frame as the film was exposed at 30 frames per second. A patent case victory in March 1902 allowed Biograph and other producers and distributors to use the less expensive 35 mm format without an Edison license, although Biograph did not completely phase out 68 mm production until autumn of 1903. Biograph offered prints in both formats to exhibitors until 1905, when it discontinued the larger format.