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The Structure of the Film

The camera was mounted facing east to capture the morning sun every day. The camera started exposing on April 6th, 2023 at 5:30 a.m. with an exposure time of 8 seconds per frame, gradually ramping up exposure times from frame to frame, we passed 9 seconds, we reached 10 seconds of exposures per frame, and so on... After dawn the end of the first roll was reached with exposure times already at 21 seconds. The exposure times were continuously increased throughout the film: the first roll of film captured the first day, the second roll captured the following night as well as the following day, the third roll already recorded the following two nights and days, etc...

The start of the film in spring lets the sun slowly rise in the middle of the frame. All nights calmly unfold in front of our eyes, we witness the whole year without interruptions. We pass through weather changes, cloud formations are moving rapidly over our heads changing their directions swiftly, all mirrored in the lake, enhancing our perception of the sky’s motion. As time passes faster, the change of night and day becomes rhythmic, contrasting with each other. All sounds support every movement. The rhythm of day and night does not stop accelerating and intensifies throughout the picture. After 19 minutes of the film had been continuously recorded over almost 8 months, on December 1st, 2023, the exposure times were still getting longer and longer and film recording entered a new phase: each exposure lasted 24 hours or 86,400 seconds. Thus when played back, we see time passing 10,000 times faster than at the beginning of the film.

These 17 seconds reveal the motion of the sun’s path across the sky: from winter on the right side of the frame, through spring in the middle of the image to the left, where it rises in summer. 

The structure of the film reached a plateau as the camera continued to expose all day and night long, 24 hours per frame, until the camera was stopped 423 days later, on January 27th, 2025. This last sequence of the film, recorded in 423 days, lasts 423 frames in playback or only 17 seconds in our real time. These 17 seconds reveal the motion of the sun’s path across the sky: from winter on the right side of the frame, through spring in the middle of the image to the left, where it rises in summer. Here the path of the sun changes its direction and moves back through autumn in the middle of the frame to the right of the frame, or winter again. Of course we can continue this cycle FOREVER…FOREVER

Filming Location and Camera Station

The filming site was carefully selected: a landscape shaped by human intervention, with a hydroelectric power station in the centre of the image. The camera station was placed facing east, making the sun rise exactly behind the power plant at equinox. The plant’s dam wall is seen from the incoming side of the river Kamp, which leads to the Stausee Ottenstein. An all-weather camera station was purposefully built at the lake’s shore, which housed the camera for two years – shielding the camera from rain and wind, during thunderstorms and even a flood while the camera was running.

A New Film Format: VistaRama65

To record the full circle of one year requires a stationary camera and can be done in two ways, either digital or analogue. A digital camera would record millions of pictures which would need to be blended in postproduction. As digital sensors create visual noise during long-time exposures, the necessary intervals between the images would be much longer than the exposed timespans recorded, resulting in a loss of visual information of motion.

Film history offers a large variety of incredible film formats and aspect ratios, but there was one missing: spheric widescreen in horizontal 65mm film.

A photochemical emulsion can be exposed for hours without aggregating visual noise. With the right filter, the shutter can stay open for as long as we like, capturing all photons entering the lens over extended periods of time. The only intervals necessary are the short periods needed for the film transport to each next frame. Long time exposures create motion blur in the areas of movement in the frame. Motion blur is a key to perceiving fast movements fluidly in motion pictures. Film history offers a large variety of incredible film formats and aspect ratios, but there was one missing: spheric widescreen in horizontal 65mm film.

Johann Lurf

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Funded by:

  • Logo Minister of State for Culture and the Media