Yoohoo! Christmas..drakkar wrote:Some aftermath from the event with John,
http://www.dagbladet.no/2011/02/24/kult ... /15559476/
http://www.dagbladet.no/2011/02/24/kult ... /15555432/
http://www.altaposten.no/lokalt/kultur/ ... 433633.ece
JAL at Litteraturhuset, Oslo, Feb. 23.
Re: JAL at Litteraturhuset, Oslo, Feb. 23.
Bulleri bulleri buck, hur många horn står upp
Re: JAL at Litteraturhuset, Oslo, Feb. 23.
i wonder if he has seen trolljegeren. much better than död snö imo.
Re: JAL at Litteraturhuset, Oslo, Feb. 23.
drakkar wrote:During the talk, John told about this tune he had on repeat while writing Harbour (played it 666 times).
Here it is, Lifelines by A-ha
I love that song. I was a huge A-Ha fan back in the day but I lost track of them after Memorial Beach. Fast forward to last year when I discovered this gem and fell in love with it (the other version, not the demo). The video is very good too. Definitely sounds like a perfect background for a moody story.
In a gloomy empty land, with dreary hills ahead.
Re: JAL at Litteraturhuset, Oslo, Feb. 23.
It's an excerpt from a 12 minutes long short film "Året gjennom Børfjord" from 1991. It was shot in 70 mm over 180 days along a 2.5 km long road at the abandoned town Børfjord in Norhtern Norway. The video was originally released with music by Jan Garbarek:Struan wrote:The video is very good too.
For the heart life is simple. It beats as long as it can.
- Karl Ove Knausgård
- Karl Ove Knausgård
Re: JAL at Litteraturhuset, Oslo, Feb. 23.
“Nature animation” - interesting technique
The "Camera train"
Our "camera train" rested on six wheels: four inclined wheels ran on the round rail and did the steering, while a motor and an optical encoder were connected to each of the two wheels on the "drive side." A computer steered the motor, so that after each frame we exposed, the "camera train" would move forward to the next shooting position. We divided the housing horizontally into two sections: An upper house and a lower house. Between them, we made a flexible opening, through which the column of the Crass animation stand could pass. The upper house might be turned in any direction on top of the lower house. Inside the lower house, we had the base of the animation stand with a levelling system connected to two levelling wheels on the outside. The computer was also placed inside, and so were the steering electronics as well as a light and an electric oven. The computer could be operated through a small trapdoor, which also provided an excellent opportunity to warm our hands! The upper house contained the 65mm camera mounted on a Crass animation geared head, a surveying instrument to help the panning, and the camera control and exposure unit. We made two large trap doors: A front door to film through and a side door for operation. All electrical apparatus were run on 220 volt AC, which we got partly from a generator and partly from the local electricity network. We spent a lot of time laying out cables....
Exactness and the computer
The whole film had to be shot in continuity as one single take, with almost no chance to go back and reshoot. Safety was very important. Forward movement along the rails had to be organic and accurate, changing speed as often as if we had driven a car. The computer helped us with this. It would calculate acceleration data for us each time we needed to change speed, and find shooting positions for each individual frame. Then, for each frame we had exposed, it would steer the "camera train" up to the next shooting position.
However, tilt and pan had to be adjusted frame by frame manually, following carefully calculated schemes. We defined an accuracy of 1/100 of a degree in tilt, pan and roll, which we knew was more than good enough. Exactness in all camera moves was of major importance, since any jerking and instability would take the audience's attention away from the film itself. The technique had to be perfect in order not to be seen!
The "Camera train"
Our "camera train" rested on six wheels: four inclined wheels ran on the round rail and did the steering, while a motor and an optical encoder were connected to each of the two wheels on the "drive side." A computer steered the motor, so that after each frame we exposed, the "camera train" would move forward to the next shooting position. We divided the housing horizontally into two sections: An upper house and a lower house. Between them, we made a flexible opening, through which the column of the Crass animation stand could pass. The upper house might be turned in any direction on top of the lower house. Inside the lower house, we had the base of the animation stand with a levelling system connected to two levelling wheels on the outside. The computer was also placed inside, and so were the steering electronics as well as a light and an electric oven. The computer could be operated through a small trapdoor, which also provided an excellent opportunity to warm our hands! The upper house contained the 65mm camera mounted on a Crass animation geared head, a surveying instrument to help the panning, and the camera control and exposure unit. We made two large trap doors: A front door to film through and a side door for operation. All electrical apparatus were run on 220 volt AC, which we got partly from a generator and partly from the local electricity network. We spent a lot of time laying out cables....
Exactness and the computer
The whole film had to be shot in continuity as one single take, with almost no chance to go back and reshoot. Safety was very important. Forward movement along the rails had to be organic and accurate, changing speed as often as if we had driven a car. The computer helped us with this. It would calculate acceleration data for us each time we needed to change speed, and find shooting positions for each individual frame. Then, for each frame we had exposed, it would steer the "camera train" up to the next shooting position.
However, tilt and pan had to be adjusted frame by frame manually, following carefully calculated schemes. We defined an accuracy of 1/100 of a degree in tilt, pan and roll, which we knew was more than good enough. Exactness in all camera moves was of major importance, since any jerking and instability would take the audience's attention away from the film itself. The technique had to be perfect in order not to be seen!