![]() Ben Berg and Herbert Block of Hollywood have for years been making a series of story-telling dramas out of paintings and prints, including a life story of Goya. Americans Paul Falkenberg and Lewis Jacobs made Lincoln Speaks at Gettysburg entirely out of nineteenth-century engravings, 1950. Belgium's Henri Starc began imparting dramatic film form to still images in 1936, and his lyric World of Paul Delvaux (1947) is an acknowledged classic. In a 1961 letter to The New York Times, photographer and filmmaker Louis Clyde Stoumen surveyed earlier uses of the technique by himself and others:Ĭurt Oertel made his Michaelangelo, with important storytelling use of still material, in 1940 (released as Robert Flaherty's The Titan around 1949). This one-hour Abraham Lincoln documentary used period photographs, illustrations, artwork, newspapers and documents "animated" by the camera on an elaborate flatbed motion picture apparatus, and the descriptive term "stills in motion" for the technique was used in NBC's publicity and in the trade by the early 1960s. Lincoln, first telecast 11 February 1959. ![]() Īmerica's television audience had seen extensive use of the technique in NBC's Meet Mr. Winner of the Palme d'or at the Cannes Film Festival and nominated for an Academy Award, City of Gold used animation camera techniques to slowly pan and zoom across archival still pictures of Canada's Klondike Gold Rush. He has also cited the 1957 National Film Board of Canada documentary City of Gold, co-directed by Colin Low and Wolf Koenig, as a prior example of the technique. Origins īurns has credited documentary filmmaker Jerome Liebling for teaching him how still photographs could be incorporated into documentary films. The American studio Filmation frequently used panning as a way to cut costs and fill time. In anime production, a cel that is meant to be held and panned is called a "hold cel," and marked in production with the word " tome" ( 止メ). Many styles of limited animation, such as Japanese anime, also use the Ken Burns effect to compensate for a lack of movement on-screen. Instead of showing a large static photo on screen, the Ken Burns effect crops to a detail, then pans across the image. The zooming and panning across photographs gives the feeling of motion, and keeps the viewer visually engaged. For example, to segue from one person in the story to another, a clip might open with a close-up of one person in a photo, then zoom out so that another person in the photo becomes visible. The effect can be used as a transition between clips as well. By employing simulated parallax, a two-dimensional image can appear as 3D, with the viewpoint seeming to enter the picture and move among the figures. For example, in a photograph of a baseball team, one might slowly pan across the faces of the players and come to a rest on the player the narrator is discussing. Action is given to still photographs by slowly zooming in on subjects of interest and panning from one subject to another. The technique is principally used when film or video material is not available. The feature enables a widely used technique of embedding still photographs in motion pictures, displayed with slow zooming and panning effects, and fading transitions between frames. This technique had also been used to produce animatics, simple animated mockups used to previsualize motion pictures, but Burns's name has become associated with the effect in much the same way as Alfred Hitchcock is associated with the dolly zoom. The name derives from extensive use of the technique by American documentarian Ken Burns. The Ken Burns effect is a type of panning and zooming effect used in film and video production from still imagery.
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