EUROFILMER
Europäischer Autorenkreis für Film und Video e. V.
European Film & Video Makers Circle

Editorial

Dear Eurofilmer,

We could use your help!

 

Filming is wonderful, but not cheap.

To have an association like the EAK is also beautiful, but the successful work of the association is carried out at rising costs. Your contributions cover part of our activities, but there is another way to support our work for you and yet avoid increasing fees.

 

We are very, very grateful for every donation, no matter its size. We would like to point out:

 

We are a non-profit association and therefore according to the tax assessment of the tax office that entitles us to issue donation certificates (official: donation confirmations).

 

Our bank details are as follows:

 

EUROPÄISCHER  AUTORENKREIS  FÜR  FILM  UND  VIDEO e. V.

Sparkasse Heidelberg

IBAN: DE84672500200025027019

SWIFT-BIC: SOLADES1HDB

Editorial

Dear film friends,

Hooray, we're still alive! And that’s no bad thing, although in the minutes of this year's board meeting (see page 5) we heard serious concerns about the future of the EAK.

The days of 120 films at a film festival are over. Today it's half of that, but, the number of high quality films by our authors has increased. The Results of the forum jury sessions, which are published in this issue, show that clearly. Of course, the eleven gold films will have to prove their quality at the remaining festival judging.

But let us think back to last year's festival in Harsefeld. Seven gold medals were awarded there. That was new! And also, many silver and bronze films shone impressively from the screen.

So, we are looking forward to the presentations in Bludenz from 27 to 29 September, accompanied by as many authors and as many guests as possible.

Our hobby exists not only through the creation of the films, but also in the recognition of our authors' achievements by fellow film makers and the rest of the audience.

No festival without films! No festival without an audience either!

In this spirit with kind regards and the anticipation of a reunion in Bludenz

 

Peter Klüver

Eurofilmer internal

Board meeting of the EAK from 22. to 24.2. in Weidenbach

 

Fourteen items were on the table. Among the most important results of the meeting were the following topics and resolutions:

Membership Development
The number of members currently amounts to 181 plus 94 from Switzerland. The board and members of the EAK are called upon to advertise for new members. The age demographic in the EAK shows that a massive decline is to be expected in the future.

 Review of the Festival 2017
The opinion of all board members about the Euro-Filmfestival in Harsefeld was without exception very positive. Organisation and execution were brilliant. Stormy weather, however, hindered the arrival of some people, which was no fault of the organiser but is not uncommon in northern Germany.

 Euro Film Festival 2018
This year's Euro-Filmfestival will be hosted by the Bludenz Film Club. Chairman Werner Scheffknecht receives grants in the form of benefits in kind from the city. The State of Vorarlberg is giving a grant.
The programme of the festival will be publicised on the media system of the EAK (Website, EAK-Infobrief, EUROFILMER-digital).
A festival brochure is in preparation. In addition to the written content, Werner Scheffknecht asks for photos of all authors, if possible in JPG format, at this point, in order to suit the media requirements of the EAK. Suitable photos should be sent as soon as possible (a half-length portrait or photo with camera).

Jury 2018
The festival juding session will take place from 16.-19. July 2018 under the direction of Peter Klüver in Bludenz. The jurors are: Hans Finnern – Switzerland Jon Gisle – Norway Res Gnehm – Switzerland Helmi Hansen – Germany Sonja Steger – Austria Wolfgang Thomas - Germany
In addition to the points rating, the authors will again be provided with a written summary of the jury's assessment ("The jury has said").

 What's the next step?
The question of the future of the EAK was the subject of a broad discussion. Wolfgang Thomas has researched international competition organisers and found that on a European level there is an increasing number of opportunities to admit film students and professionals to the respective festivals in the amateur field.
According to the statutes of the EAK, student films, commissioned films and professional films are currently excluded. In this context, many filmmakers had expressed their surprise at the credibility of the assertion of the author of the award-winning film "Fridgemania" at the Euro-Filmfestival 2017 in Harsefeld that it was purely an amateur film.

New structure at the international Amateur Film Festival
Wolfgang Thomas is in the process of establishing a new structure for the international amateur film festival in Harsefeld. To this end, he is holding talks with businessmen from the region. As it is customary abroad, as mentioned above, to admit students of film as well as semi-professional filmmakers without commercial background as amateurs, the plan is not compatible with the statutes of the EAK.

For this reason, this alternative European film festival is to be planned parallel to the EAK, but will only be implemented when the EAK can no longer exist due to a shrinking number of members or financial emergency. It is therefore a model which, with foresight, would like to carry the idea of the EAK into the future under other broader conditions. In this context, events are planned with business people and films by authors from the Eurofilmer circle - whose consent is required. Four events per year in the form of matinees are conceivable. All this can run parallel to the traditional EuroFilm events without overlapping dates. The aim of this vision is to build up an expanded competition platform throughout Europe with amateur filmmakers and film students in the spirit of the European ideals.

Costs are to be covered, among other things, through the participation of the above-mentioned businessmen. Readiness for technical assistance and participation in juries can be ensured - from 2019 the EuroFilmfestival is to take place in its usual form in Harsefeld for at least 3 to 4 years, i.e. until 2021/22.

The current membership in the EAK and the currently still viable financial basis guarantee the continued existence of the association until further notice. In case the situation worsens and a dissolution of the association becomes necessary, timely planning and visions for the future, as presented by Wolfgang Thomas, are necessary.

Jury Training
In Switzerland, jurors who have not yet been trained are involved in the juries in order to test their operational capability for the future. Hansruedi Wiget or Res Gnehm can offer training courses for southern Bavaria and Switzerland. The North must organise itself. Peter Klüver does not currently offer jury training.

Res Gnehm will be proposed as contact person for the Eurofilmer at the SIFA meeting and will then be available to the EAK. The new rating system has worked well. Res Gnehm assumes that there will be no new upheavals in Switzerland.

 Election 2019
The election documents must be sent in December 2018; by the end of January 2019 the votes must have been cast in accordance with the statutes. In the next EUROFILMER-digital the call for candidates will take place. In addition, all members will be contacted individually. If there are not enough candidates for election, the association may be dissolved.

Reports by Forum West Forum Leader:
Roswitha Katharina Wirtz takes a lot of care of the members in her region, but often with little response. R.K. Wirtz receives a grant from the district, because she made a big film about the region. In addition, she shows films at various institutions under the motto "From seniors for seniors" - another way to get support.

Forum South:
Anni Bergauer reports that this year the Filmclub Augsburg under the direction of Helga Aegerter will host the forum. The jury members are Werner Scheffknecht and Reinhard Fritz from Austria and Toni Wallner, Manuela Waltl and Anni Bergauer from Germany. The judging will take place on the day the Forum films are projected.

Forum Austria:
Preparations for the festival are well on schedule. Werner Scheffknecht had a conversation with Mr. Glatzl, the chairman of the Association of Austrian Film Amateurs. There is not much interest in the Eurofilmers, as UNICA provides access to the international film scene. Contacts with other film clubs are just as difficult.

Forum North:
Wolfgang Thomas reports that there are 57 members in the Forum Nord, 2/3 of them are active. The contact with the members is good. Numerous activities stimulate communication between the members.

 Editorial office:
Peter Klüver will be in charge of the next edition of EUROFILMER-digital after the Euro-Filmfestival in Bludenz. Wolfgang Schydlo, currently being represented by Peter Klüver, will retire after the holidays and will then be available to the EAK again.

 

Ansbach, 08.03.2019
Minutes: Anni Bergauer
Editorial processing: Peter Klüver

40th Euro-Filmfestival

27 to 29 September in Bludenz / Austria

 

Dear Eurofilmers,

the preparations for the festival are in full swing, the program is already drafted. A detailed schedule will be made when we know the number and length of all films entered for the festival.

At the Remise Cafe we have found a nice place for the presentation of the films and the Muttersberg mountain restaurant offers a great ambience for our banquet. We are also in good hands in the Fohrenburg brewery restaurant for a convivial get-together.

Of this booklet you will find information about the nearest hotels to the event location (a few minutes' walk). Please book soon, there are already various requests for rooms.

 

1-minute cup
We plan to do this if there are at least 6 entries (no registration fee). And it looks good, the minute cup will almost certainly take place. Please send the contributions on USB stick or via WeTransfer (www.wetransfer.com) by 1 July at the latest to:

Werner Scheffknecht Sonnenbergstraße 2a 6700 Bludenz Austria This email address is being protected from spambots. You need JavaScript enabled to view it.

 

Registration for the festival events
We ask you to send us your registration as soon as possible, also early transfer for the banquet ticket and the fee for the additional programme helps us with planning and organisation. You can find the registration on the Eurofilmer-Homepage

 

Program

 

 Wednesday, 26. Sept.

 In the evening

 Arrival, social gathering in the Fohrenburg Brewery

Thursday, 27. Sept.

 Full day

 Film screening in the Remise

 

 

 Evening

 Eurofilmer Meet-Up - in the Fohrenburg brewery restaurant.

Friday, 28. Sept.

 

 Morning

Additional programme: Visit of the Rod power station and 2 of Illwerke-VKW (Number of participants limited to 50 persons - First come - first served)

 

 Afternoon

 Film screening in the Remise

 

 Evening

 A reception by the mayor with light snacks in the Remise Restaurant.

 Saturday, 29. Sept.

 Morning

 Film screening in the Remise

 

 Afternoon

Film screening in the Remise

 

 Evening

 

 Festival banquet and prize-giving in the Muttersberg Mountain Restaurant.

 

We are pleased to welcome you to our beautiful alpine town in September. We are sure that the festival will be a unique and memorable experience for everyone:

 Great movies and an excellent projection.
A meeting of friends Lots of time to exchange experiences and talk to each other!

 Werner Scheffknecht, Country Representative for Austria and Slovenia with his team

Registration for the Euro-Filmfestival 2018

Please register for the Euro-Filmfestival 2018 with this form: Download (Word-Document)

Please send the completed form by email to This email address is being protected from spambots. You need JavaScript enabled to view it.

Thank you very much for the information and your registration – it helps us to organise the festival!

40th Euro-Filmfestival

Hotel Recommendations

 

Schlosshotel Dörflinger ****

Castle Gayenhof Square 5

A-6700 Bludenz-Vorarlberg

 

Phone: +43 5552 63016

Fax: +43 5552 630168

This email address is being protected from spambots. You need JavaScript enabled to view it.

www.schlosshotel.cc

 

To reserve a room at the special price mention the keyword "Eurofilmer".

 

Price from:

6 single rooms (Rate: 83,00 per night)

6 double rooms (Rate: 136,00 per night for 2 people)

All prices include a breakfast buffet, plus VAT.

The guest tax of € 1,80 per person/night.

Distance to the Remise (film screening):

0,4 km - 3 min. by car,

6 min. walk (Via castle stairs)

 

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

 

Hotel Pension Einhorn*** (Branch of the Schlosshotel)

Alte Landstraße 64

A-6700 Bludenz-Vorarlberg

This email address is being protected from spambots. You need JavaScript enabled to view it.

www.schlosshotel.cc  

Phone: +43 5552 62130

Fax: +43 5552 62130-8

 

To reserve a room at the special price mention the keyword "Eurofilmer".

Price from:

6 single rooms (rate: 49,00 per night)  

6 double rooms (Rate: 86,00 per night for 2 persons)

All prices include a breakfast buffet, plus VAT.

The guest tax of € 1,80 per person/night.

Distance to the Remise (film screening):

1.5 km. approx. 5 min. with by car,

17 minutes’ walk

 

The room allocation is reserved until 15 August.

 

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

 

Hotel Herzog Friedrich*** (Older hotel, reasonable prices)

Mutterstraße 6

A-6700 Bludenz-Vorarlberg

Phone: +43 5552 62703

Fax: +43 5552 62854

This email address is being protected from spambots. You need JavaScript enabled to view it.

www.herzog-friedrich.at

Distance to the Remise (film screening)

0,4 km. approx. 4 minutes on foot

 

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

 

 

Hotel Löwen GmbH ***

(Breakfast only, recently renovated)

Mutterstraße 7

A-6700 Bludenz

Phone: +43 5552 32270

This email address is being protected from spambots. You need JavaScript enabled to view it.

 

Distance to the Remise: 0.5 km. approx. 5 minutes on foot.

Reports from the forums

Competition at Forum Nord: A miss is as good as a mile ...

A potential new member, a first-timer at the EAK competition in the Ammersbek, was asked about his impressions in a relaxed private conversation and was surprised that mainly documentaries had been shown.

The small number of different genres is well known and can be seen even more clearly in the BDFA, where there are four federal festivals for "Documentaries”, one competition for "Nature" (often also documentaries) and only one event for "Fiction".

There are certainly deeper reasons for this predominance, but it was not the case in Ammersbek that one could say scornfully that the films were similar in essence and the audience did not expect anything else.

On the contrary, many viewers expressed themselves extremely firmly during the "interview" in the longer breaks, but also spontaneously at dinner, taking into account a wide variety of subjective criteria. This range of opinion could not be seen after the medal table was published: There were 2x gold, 3x bronze and 14x silver in 19 films. Silver as the "main currency" meant that rather weak films were "upgraded" and much better films were "downgraded" to the point of misjudgement.

There was no concern about missing artistically creative elements, nor concerns about the relative quality of performance.

Forum West and Forum South/Austria, on the other hand, demonstrated that it is still possible to award praise to various works including bronze winners.

After all, it is only by taking all facets into account that one can maintain the range of awards, avoid levelling and the devaluation of precious medals.

Besides, I'm sure we all want Bludenz to be like Harsefeld at the EURO Film Festival: "An event with top amateur films. We don't have to hide."

 

Dieter Prill

Forum Germany North - Results

 

Autor

Titel

Land

Rang

Weiter-meldung

 

 

Forumssieger

 

 

 

 

Anton Wallner

Im Licht des Ayeyarwady

D

Gold

ja

 

 

Goldmedaille

 

 

 

1

Anton Wallner

Im Licht des Ayeyarwady

D

Gold

ja

2

Tammo Dirks

Sehnsucht nach Gestern

D

Gold

ja

 

 

Silbermedaille

 

 

 

3

Roswitha Katharina Wirtz

Necronomicon *

D

Silber

ja

4

Dieter Prill

Hopeless

D

Silber

ja

5

RoKa Wirtz und Hiltrud Klahr

Gewinn, Verlust, Zukunft *

D

Silber

ja

6

Suzy Sommer

Die Regenbogengesellschaft *

LUX

Silber

ja

6

Marlies Zeitz

Guernsey, Sark, Jersey

D

Silber

ja

6

C. Brülle-Drews und Max Conradt

Cindy ist tot

D

Silber

ja

9

Terje Idsoe

The Slippers

NO

Silber

ja

10

Dr. Günter Ihmels u. Sandro Giampietro

Een Moorliek is noog

D

Silber

ja

11

Joachim Bauer

Helgoland, mehr als ein Einkaufsziel

D

Silber

ja

12

Horst Burmeister

Spenden bringen Lebensfreude

D

Silber

ja

 

 

Broncemedaille (in alphab. Filmtitelfolge)

 

 

 

Gerhard Jargow

Atalanta

D

Bronce

 

 

Max Conradt

Der Friedhof der toten Bäume

D

Bronce

ja

 

Guido Haesen

Jenseits des Alltags *

LUX

Bronce

ja

 

Dr. Horst Hufnagel

Sydney, Australiens größte Metropole

D

Bronce

ja

Filme mit * wurden vom Forum Nord für Forum West juriert und scheinen auch in der Ergebnisliste des Forums West auf

Reports from the forums

Grand Cinema - Eurofilm-Forum West on 4 May 2018

I've never seen EAK films on a huge screen, more than 10 meters wide, as wide as the whole cinema. The venue: "Das Lumen" in Düren, a cinema centre with 7 screens. In addition to the 19 films of the EURO Forum, 6 official films of the Film Theatre were screened. That was pure film experience. Even in the early morning at the beginning of the forum 52 spectators had taken their seats in the extremely comfortable armchairs and enjoyed the perfect projection. All but two authors had come. And the two, who couldn't come because of illness, sent their best wishes to all film friends. Greetings were also sent by the EAK board.

The large screen and perfect sound reproduction naturally also placed high demands on the film material. The differences between Full HD (1920:1080) and HD and especially DV were clearly visible in the size of the projection. Anyone who shot his film at 50p naturally enjoyed a particularly sharp picture. As for the sound a bad mix and uncorrected wind noise came to light quite clearly. Thanks to the atmosphere and the excellent organisation, which was essentially undertaken by our dear Roswitha Katharina Wirtz and her helpers, these things seemed less important.

After each film block there was a presentation by the authors, whereby the presenter talked about their characters and films and asked various questions that might interest the audience. Thus, a completely personal conversation, which was managed by Oliver Bücker in an outstanding style. His deep voice and clear pronunciation encouraged the authors to speak freely from the heart.

Roswitha had also taken care of our physical well-being. Drinks of all kinds were available in the large foyer of the cinema palace. At noon most people dined cheaply at the nearby Mongols, where a room was reserved especially for the Eurofilmer. Actually, I don't eat much at noon. But here the buffet was so varied and tasty that I let myself be seduced. I couldn't resist the many delicacies.

After lunch the cinema was almost full. This was due to the invitations sent out by the district of Düren. Our sincere thanks go to Monika Sandjon. But now to the films: 2 nature films, 1 reportage, 1 fiction film, 2 sketches, 3 documentaries, 1 animation and 9 travel films. I don't want to go into the individual films here, that would go beyond the scope of my report. But I would like to mention 4 films that appealed to me very much. That was "Christmas Magic in St. Petersburg". Jacob Breidenbach's film showed me the beauty of this city at minus 24 degrees. Perfect camera work.

I was just as enthusiastic about " Nostalgia for Provence". Incredibly beautiful pictures, very personal, loving commentary, which testifies to the fact that the author Fritz Brecht has taken Provence to his heart, the animal world, the lavender and the light of this landscape. This is the privilege of the amateur photographer: He is allowed to express his feelings in the film. Because he doesn't make his film for a broad audience, but primarily for himself and his friends.

The Rainbow Society" is also great. An exciting title. The film deals with the Panama Canal. Everybody knows it. But few know what the country looks like and how the people there live. I didn't know that 20,000 people lost their lives during construction and that passage costs 100,000 US dollars per ocean giant. An extraordinary, well-made film.

And finally, "Necronomicon". A film by R. K. Wirtz. A fantastic reportage about a music group that developed their own musical style as students and today, after successful activities, e.g. as entrepreneurs or professors, make music together again. An artistically great film.

Yet none of these films have won a gold medal. None of these received recognition either. 10 x bronze and 9 x silver were awarded. I think it's the rating system, that is, the rating sheet. It simply does not take all facets of an individual film into account. Above all, I don't like it if no commendations are given. As a result, bronze and silver lose importance. All in all, the quality of the films varied greatly. There are 2 prize groups, bronze and silver, simply not enough. The award was presented by Helmi Hansen. Taking on this not so easy task for the first time, she did it excellently and also very personally. She was supported by Dominique Marlier-Wolf. Gertie Dolfen was always trying to capture everything with her camera

Before the award ceremony, Günter Hochgürtel created a lively atmosphere with his guitar and songs, mostly sung in Eifler dialect. Most people immediately recognised the artist. They knew him from the 2015 award-winning film "And yet I must move on" by R.K. Wirtz. Of course, he also sang the song of the same name.

There were two special prizes. One of them was donated by the district of Düren. As the prize-winner was not chosen by the sponsor himself, a prize draw was held. The award went to exactly the right author, namely R.K. Wirtz for her film "Necronomicon". A small compensation for her endless effort and work, with which she succeeded in making Forum West 2018 an experience.

The sponsor of the second special prize is Mr. Riedel, the managing director of the cinema palace "Das Lumen". He chose the winner himself. The choice was "Hamburg and the Wonderland". Thank you very much. I was very pleased.

The Eurofilm-Forum 2018 has shown that amateur film has gained in importance and that it is worthwhile to be there. The authors' wealth of ideas and the commitment of the competition organisers are important for a secure future. Roswitha Katharina Wirts has masterfully fulfilled this task. Thank you very much for that.

 

Reinhard Merke

EURO-FILMFORUM 2018 Germany West - Results

Lfd.

Nr.

Namen

Titel

Länge

Ergebnis

1

Roswitha K. Wirtz

Necronomicon

in HH juriert

11,00 Min.

Silber

2

Roswitha K. Wirtz/ Hiltrud Klahr

Gewinn Verlust Zukunft

in HH juriert

9,00 Min.

Silber

3

Reinhard Merke

Hamburg und das Wunderland

20,00 Min.

Silber

4

Suzy Sommer

Die

Regenbogengesellschaft

in HH juriert

10,00 Min.

Silber

5

Hans Walter Backeshoff

Futterneid

11,30 Min.

Silber

6

Jacob Breidenbach

Weihnachtszauber in St. Petersburg

17,00 Min.

Silber

7

Franz Czeslik

Logo

2,00 Min.

Silber

8

Dieter Schmieding

Polperro

6,30 Min.

Silber

9

Horst Krause/ Familie Merhie

Respekt

3,30 Min.

Bronze

10

Guido Haesen

Jenseits des Alltags

in HH juriert

11,20 Min.

Bronze

11

Walter Richter

Lowlands- Highland

18,00 Min.

Bronze

12

Wolfgang Enge/ Horst Krause

Die Spende

1,00 Min.

Bronze

Die folgenden Filme wurden nicht zum Festival weiter gemeldet:

13

Peter Hermens

Blumen und Insekten

2,00 Min.

Bronze

14

Irmlind u. Frieder Mallon

Graffiti

8,30 Min.

Bronze

15

Theo Knour

Hohe Tatra

12,00 Min.

Bronze

16

Günter Kersjes

Ostern an der Algarve

20,00 Min.

Bronze

17

Frieder Mallon

Probleme mit der Spermaprobe

2,00 Min.

Bronze

18

Fritz Brecht

Sehnsucht Provence

21,38 Min.

Silber - wegen Überlänge und Nichterreichung der Punktzahl

19

Bernd Habel

Überetsch - Weinland mit Tradition

10,30 Min.

Bronze

 

Reports from the forums

Organisation of the Eurofilm Forum West by RoKa Wirtz

The Eurofilmer Forum West 2018 film festival is over. I am very pleased with the work of the forum and look forward to seeing many of those present in Bludenz/Austria again.

Important Point 1
It is essential that films be shown in a cinema. There are several reasons for this. Each of us filmmakers feels ennobled when our film is shown in a cinema alongside the usual cinema programme. It is very special when the cinema advertising of amateur films hangs next to that of the great cinema of the pros. The motivation to come to the performance as an author and then enjoy it is close to the 100 % mark. But there are also very practical reasons for me as the organiser. The projection and sound of the films are top-notch, no equipment needs to be transported and set up, the cinema staff handle the show, the cinema staff serve drinks during the breaks. For lunch we went to the restaurant around the corner. So, there is no work to be done by our own people.

Important point 2
Have a special advertising slogan. I won't say anything new when I write here: We, the filmmakers, are all in our 65-90s. We are seniors, and as such we make films. All EAK members know that our future prospects - as an association - are quite problematic. Especially because we are very old. It is important to develop visions for the association. I know that some have thought about this. But it will be a while before the Eurofilmers have established stable foundations for the future. Therefore, a "life-prolonging measure" may be helpful if we make necessity a virtue. Perhaps my slogan of 2018 will be supportive in the future: "Films by seniors for seniors”.

Since my idea had startled my club colleagues in Aachen, I was initially unsure. I therefore decided to promote Forum 2018 in two ways.

Approach 1: The cinema poster and the cinema programme were classically designed. Not a word about seniors. The cinema poster was displayed in the cinema for 3 weeks and was also promoted via the Internet and on the cinema's Facebook page.

Approach 2: An invitation letter specifically addressed to the target group of senior citizens was printed. It was prepared in a similar way to the film programme, but it was just there: "Films by seniors for seniors".

A logo of the senior citizen work of the Düren district, demonstrated the special support of the district for the topic. So that wheelchair users were not disappointed, the reference was to the fact that there was no disability access. It was also noted that the event could not be open until the afternoon.
Of course, entrance was free and I asked for registration. I received funding for this event necause I filmed the senior citizens' work for the district of Düren and therefore have a good reputation there, as well as having given our Eurofilmer event the "Slogan 2018: Films by Senior Citizens for Senior Citizens".

Result
Authors: 17 (of 19 authors) present Companions/Film

makers/helpers: 26 Friends of the Wirtz group: 17 Cinema advertising: 3 Personal contacts. seniors: 46 Total 109 persons who were not permanently but mostly present in the afternoon until evening. It is in the nature of things that my slogan is only partially sustainable. How long it can last is up to us. The fact that the number of 46 people from personal advertising was so high is due in particular to the committed work of Monika Sandjon from the district of Düren. She was also present from the afternoon and obviously enjoyed our event. It can therefore be helpful for the organisers of such events to obtain municipal support.

The conclusion
All our seniors present had fun and went home happy and satisfied. Make a note: The seniors' filmmakers and the seniors' viewers.

 

RoKa Wirtz

Reports from the forums

EURO-FILMFORUM 2018 for Germany-South/Austria and Slovenia on 14 April 2018 in Augsburg

It was nicer....yes, this year's Euro-Filmforum for the region D-South/Austria could be included. Altogether 33 films had been announced after Augsburg to our hostess, Helga Aegerter from the video club Augsburg. We were able to hand over some films from Forum West (the authors sat on the jury) to Forum Nord, leaving 29 videos for screening. Almost 6 hours of pure presentation time!

Helga and her helpers from the VCA organised a successful forum. Perfect technology, super beautiful movies, relaxed and cosy atmosphere. A fully staffed restaurant with delicious food and the best of all: many authors were present.

Reinhard Fritz and Werner Scheffknecht from Austria, Toni Wallner, Manuela Waltl and I from Germany sat on the jury. We had the difficult task of evaluating the films submitted.

Now to the films. We were very surprised by the large number of videos submitted. We judges unanimously stated that our authors are delivering ever better films. We haven't had to rate so many excellent videos in a long time. That's why it didn't surprise us that we could hand out 7 gold medals at this year's Forum. Really all excellent movies. We all enjoyed the film by Ruth Summer and Wolfgang Tschallener from Austria with the title: "Schräge Vögel als Filmmacher". What these young people took upon themselves to make their video was sensational and absolutely perfect. No effort was too much for them. They weren't even afraid to torch their car for their film. But I don't want to tell you too much, this video made us all laugh very much.

Names such as Breiter, Scholz, Lauter etc. to name just a few simply stand for quality. It is repeatedly claimed that documentaries have a harder time than fiction films. We could not agree. Heinz Werner Breiter showed his perfect and startling documentary "Der ewige Kampf" about the Italian river Po, where, like Frank Lauter in his film "Braunsbach - Leben nach der Flut" about the devastating floods, he also skilfully used Quatrocopter recordings. Not too many, but they are used precisely. Yes, our authors master their technique. Just like Georg Merz in his declaration of love to Augsburg "Abr d`Pilz war scho oh schee". Well, to the film by Harald Scholz "Worst Of Making Of", in which he shows us how intensively he prepares his great films, I can only say that his works speak for themselves.

I was also particularly impressed by one film. "Reni" by Josef Pettinger. A film about a handicapped young woman, which became more and more intense by the minute. A great performer who took us into her difficult life without tears and showed us how she mastered her disability.

We were unable to identify any particular trend in films. From fiction films, nature films, travel films to animated films, all categories were represented. Our filmmakers will continue to bring to the screen what they like about topics and what they are interested in or enjoy. This is also the advantage we amateurs have, we are free in the choice of topics and do not usually have to adhere to specifications. If the film is well received by the jury and the audience, the author is sure to win a medal. No, no author needs to hide away. Even if not every author could get a gold medal. Of 29 videos, 22 films from this year's Eurofilmfestival 2018 in Bludenz/Austria were entered, all films that can be seen and enjoyed.

Bravo! Helga, a big THANKS to you and your helpers! You should be proud of yourselves. You gave us a very successful forum!

 

Anni Bergauer

EURO-FILMFORUM 2018 Germany South/Austria & Slovenia

Results

 

Autor

Titel

Land

Rang

 

 

Forumssieger

 

 

 

Heinz Werner Breiter

Der ewige Kampf

Österreich

Gold

 

 

Goldmedaille

 

 

1

Heinz Werner Breiter

Der ewige Kampf

Österreich

Gold

2

Harald Scholz

Worst Of Making Of

Österreich

Gold

3

Ruth Summer

Schräge Vögel als Filmemacher

Österreich

Gold

4

Georg Merz

Abr d`Pilz war scho oh schee

Deutschland

Gold

5

Erich Hirsch

Ein Tag wie kein anderer

Deutschland

Gold

6

Paul Aegerter

„Wahn“ – Kein Buch für schwache Nerven

Deutschland

Gold

7

Frank Lauter

Braunsbach – Leben nach der Flut

Deutschland

Gold

 

 

Silbermedaille

 

 

8

Josef Pettinger

Reni

Deutschland

Silber

9

Xaver Mayer

Wahrheit

Deutschland

Silber

10

Gerhard Menzel

Ein Lebensraum für die Natur

Deutschland

Silber

11

Wolfgang Tschallener

Fini und Tini

Österreich

Silber

12

Josef Köfler

Lebendiges Brauchtum

Österreich

Silber

13

Günther Walz

Jenseits der Serengeti

Deutschland

Silber

14

M.Fuchs u.Filmautoren

Narzissenfest – Ausseerland i. Zauber einer Blume

Österreich

Silber

15

Heinrich Nerowski

Zauber d. Nordens – Herbst im Land d. Elchjäger

Deutschland

Silber

16

Arno Wehrmann

New York

Deutschland

Silber

17

Erwin Sprenger

Hernalser Kalvarienberg

Österreich

Silber

18

Viola Raneburger

Das verstehe ich nicht

Österreich

Silber

 

 

Broncemedaille

(in alphab. Filmtitelfolge)

19

Proj.Gruppe der
Pfortener Schule Gera

Die Krümelspur

Deutschland

Bronce

20

Erdmuthe Becker

Die Teufelsinsel

Deutschland

Bronce X

21

Ludwig Würz

Eiswelten

Deutschland

Bronce X

22

Helmut Savini

Max

Deutschland

Bronce X

23

Filmclub Gera-Pforten

Musik macht fröhlich

Deutschland

Bronce

24

Dieter Scholz & die
Moviebande

Schulwoche 31

Deutschland

Bronce

25

Jakob Feuerstein

S`Wälderbähnle

Österreich

Bronce X

26

Manfred Bösch

Von London nach Brighton

Österreich

Bronce X

27

Franc Kopic

Was die Sonne u. ich entlang der Drau….

Slowenien

Bronce X

28

Peter Hossan

Weihnachtskrippen aus d. schwäb. Barockwinkel

Deutschland

Bronce

29

Manfred Pilsz

Wie einst im Mai

Österreich

Bronce X

Alle mit „X“ gekennzeichneten Filme haben die notwendige Punktezahl für die Weitermeldung zum EURO-Filmfestival 2018 in Bludenz leider nicht erreicht.

Reports from the forums

Reports from the forums SIFA Festival 2018 in Basel

As every year, I was curious about the films that the authors would submit to us. The deadline for entries was February 3, 2018. 22 films in total reached us, which is the average in recent years. What is new, however, is that the films were transmitted not only via stick, mini DV tape or DVD but also via We Transfer. The authors move with the times.

Felix Heiber prepared all films carefully, so that we were able to carry out an orderly adjudication at the Haus der Vereine in Riehen on Saturday, 17 February. The atmosphere among the jurors; Marianne Hübner, Roberto Mafolini, Max Rüegg, Franz Plessl and myself (Res Gnehm) was very good, Martin Stumpf, who was responsible for the technology on this snowy February day, made sure of that. The schedule included 2.5 minutes of judging time for each film, which we were able to keep to thanks to the slim judging sheet.

There was little to discuss. In general, we saw many very good films. The fact that the authors are considered amateurs can only be seen in the names of the respective film clubs. The films themselves, reveal a clear, clean film style.

The organising team made up of Riehen Martin Stump, Roberto Mafolini and Felix Heiber now had seven weeks to plan the festival down to the last detail, because on Saturday 5.5.2018 the time had come. The doors to the Gare du Nord were opened at 9 am and the 48th SIFA Film Festival could begin. Reto Stocker, President of the SIFA, announced each film block and paid tribute to the authors who were present. The 100 seats were soon occupied and after the breaks, everyone who could still do so was invited to the dark, harmonious screening room with grandstand seating, to enjoy more films. Of course there was room for all of them. At 5.30 p.m. the projection was finished with the film "Wässerwasser" by Erwin Bosch. Everyone enjoyed the open-air aperitif in the middle of the city of Basel, but nervousness about the forthcoming award ceremony was palpable.

Last words about successful shots and exciting scenes were exchanged, while the appetizers on the white covered, long wooden tables, were brought to mouths via spoon and fork.. After the excellent main course, I spread the prizes on the display table. Now it could be seen from afar that only four bronze awards were awarded. There were 15 cups in the silver section and two gold awards. Reto Stocker once again praised all the authors and the organisers of the Basel Festival. So, I still had the task of introducing the jury, which was also fully present at the festival. It was a pleasure to honour the films and the authors individually together with Reto Stocker to present them with the prizes and detailed evaluations.

The ranks in the middle silver were densely occupied, sometimes within a tenth of a point. The winner of the festival was Markus Beerli with the film "River of Life". He told a breath-taking story about wild bears waiting for spawning salmon to build their winter fat! We presented the second gold award to Erwin Bosch, who shot a feature film about the traditional water channels in Valais and captured the audience with a successful arc of suspense!

Of the 22 films submitted, we were able to personally hand over 18 to Werner Scheffknecht for the final Eurofilm judging. He visited our festival, which made us very happy. We are looking forward to the festival in Bludenz and are looking forward to many personal contacts with other enthusiastic film authors.

 

Res Gnehm

48. SIFA-FILMFESTIVAL - Results

  Filmtitel Autor
1. Gold Fluss des Lebens Markus Beerli 
2. Gold «Wässerwasser» Erwin Bosch 
3. Silber Vatan (Vaterland) Ayhan Türkel 
Silber ... und immer eine Prise Wind Willi Grau 
Silber * Stoffwechsel App Felix  Heiber 
Silber Das Spiel mit dem Feuer Reto Stocker 
Silber De Winter chunt... Hansruedi Wiget 
Silber Abenteuer Südafrika Peter Ortner 
Silber Only memories Arthur  Stocker 
Silber Der Landweg Ernst  Wicki 
Silber Medizin aus der Erde Hermann Tscherrig
Silber Das Alter Günter  Viereckt 
Silber Auf 64 Räder zum Windpark Willi Waser 
Silber Verborgene Schönheit Hans  Rohrer 
Silber «Nöd no Alphoren»
(Nicht nur Alphorn)
Ueli Bietenhader 
Silber Vom Hunger getrieben Herbert Oberlin 
Silber ...dass die Zeit vergeht Heinz  Gerber 
  Filmtitel alphabetisch geordnet  
  Filmtitel Autor
Bronze «Die Kamera war immer dabei» Manfred Klein 
Bronze Es war einmal Erich Gujer 
Bronze Pillen François  Elmiger 
Bronze * Weil a. Rhein – die Stadt der Stühle Peter Haidacher 
Diplom * Pilot der fliegenden Gänse Erich  Böhlen 
Sonderpreis für    
  Filmtitel Autor
eine humorvolle inovative Trickanimation Stoffwechsel App Felix  Heiber
eine sehr gelungene Geschichtsaufzeichnung Only memories Arthur  Stocker
eine gute Dokumentation eines aussterbenden Kunsthandwerks Verborgene Schönheit Hans  Rohrer
 
Gold uns Silberfilme sind nach Rang geordnet
Fette Auszeichnung = Für Eurofilmerfestival 2018 qualifiziert
* = VFR-Filme

Eurofilmer report

13 steps to the cinema feeling

The address for film amateurs in Hamburg and surroundings is known: gebra cinema Rönkkoppel 32 in 22159 Hamburg.

As an EAK member, Georg Brand is always happy to make his cinema available for meetings of film makers, juries, and other occasions. The cinema has up to 18 seats in step form, so that a good view of a 3-meter screen is given from every seat. A bright HDMI beamer produces a flawless picture. The room, all covered in black with stage cloth, provides a brilliant acoustic atmosphere.

The playback technology for picture and sound is discreetly integrated and guarantees high quality pictures and an excellent Dolby Surround 5.1 spectrum, depending on the sound the amateur film produces. One joy is the technical standard; the other is Georg's hospitality to share his passion for filming with other amateurs. Drinks, snacks, coffee and cakes are always available for the guests. They are very thankful.

Early booking for the monthly meeting of film makers of the EAK is required with the country representative Wolfgang Thomas is required. Then Georg will report on his website www.georg-brand.com once again: This event is sold out!

 

Wolfgang Thomas

Eurofilmer report

Date transfer via WeTransfer

Some of our members already use the service from the Dutch operator Bas Beerens of Amsterdam: the free file transfer of films up to 2 GB in highest video quality in HDTV with 1920 x 1080 pixels. This "file hosting service", which was introduced in 2009, is used to send large files, in our case video files, to one or more recipients with the option of an intermediate storage period of 7 days before downloading to their own PC.

It is not necessary to register with this service. Your own e-mail address as the sender and the e-mail address of the recipient is sufficient to send high-resolution films up to 2 GB free of charge.

https://wetransfer.com
Go to the website and follow the clear instructions. The sender can select up to 20 recipients at once and also send a text message. Insert the file name in the field provided for this purpose and then send it. After the transfer is completed, the receiver receives a message from the server stating that a (film) file is available for download from the sender for 7 days. The sender receives a message after the recipient has retrieved the filee. The process is completed without the need to run any application software (app).

WeTransfer also grants special privileges for paying members who need to send data volumes of up to 20 GB (!). The subscription service offers individual e-mail addresses with password protection. The offer is made via the same website. Of course, the question of data protection keeps reappearing. WeTransfer rents entire data centres to store the immense amounts of data, which can be outside Europe.

As with all other cloud providers such as Drop-Box, Google Drive or Highttail, WeTransfer does not guarantee data protection, data security or discretion.

Nevertheless, more and more authors trust this transmission method, and so the organisers of film festivals call on the authors to do without conventional data carriers such as DVD, Blu-ray or sticks and SD-HC cards as far as possible. Shipping and return shipping costs are saved.

Many competition organisers do not return the data carriers to the author, but destroy them after the competition or after copying for archiving. The new EU regulations already seem to be taking effect here. The EAK also offers the possibility to send films to the forum organiser via WeTransfer on the film registration form. The film registration form is regularly adapted to the new technical standards under "Downloads" on www.Eurofilmer.com In our highly technical film world, things are moving at a rapid pace.

 

Wolfgang Thomas

Eurofilmer report

The Charm of a good Documentary

Experienced amateur filmmakers and experienced jurors often recognise in the first moments whether a film has quality or not. How is that possible? It is the magic of first sight that works in encounters with people. It is the first sentence of a novel, it is the first words of an actor and it is the first picture of a film - and also of a documentary. The viewer must, without realizing it, be emotionally touched by the opening, his interest must be awakened, he must want to see more. And how do you do that? The opening of a documentary is often a long shot. That's all right, but it has to be one that elicits a " glamour "; spectacular scenery, a great, effective, thematically unifying frame work. But it doesn't always have to be a long shot. It can also start with a close-up, a drop, a detail on the subsequent theme of the film, an image whose content and meaning cannot be explained at first, something surprising, an acoustic curtain (the street noise of a film about a big city) – there are many possibilities, but it must not be boring.

It has to be something that appeals to the eye, the ear, feelings and the mind. The possibilities for the artistic design of a documentary film are no less diverse than those of a fiction film. Everything that is necessary to make a sophisticated fiction film is also a prerequisite for the production of a documentary: commitment, curiosity and empathy for a theme and imagination in design.

To document an event, one would think, is basically nothing more than to put the filmed scenes into an assembled sequence that is credible, not manipulated and reproduces nothing else than reality. Wrong! Documentaries are not the reproduction of reality, but the design of the material according to all the rules of art. Berthold Brecht said that "the simple reproduction of reality does not necessarily say anything about reality". And there are many reasons for this.

First of all, every documentary is a selection from the various possibilities of looking at the object or subject of our film. Let a person look at a landscape, a building, a group of people or a single person. Perception is different for everyone. But what is the truth, what is reality? They don't exist. Don't even look for it. And if you think you've found it, keep it to yourself. It's your truth, not somebody else's. Don't dwell on the enthusiastic descriptions of "magnificent landscape", "the incomparable architecture", "the unique experience".

The challenge of documentary film is to present people, events, statements and feelings as truthfully as possible. Technical errors, a shaky pan, a slip of the tongue, a microphone protruding into the picture do not necessarily disturb, because the viewer does not always expect perfection; he even perceives the occasional slip-ups as more authentic. However, these errors can only be excused under very specific conditions. Blurred scenes will only be forgiven if the situation clearly indicates to the viewer the difficulty of making the recording.

Documentaries are comparable to portraits. They are talking about people, cities, landscapes. But portraiture always also means interpreting, stylising, reducing or even exaggerating in order to clarify the content of a topic that one wants to convey.

And how do I do this effectively on film? What is important is the correct assembly of the material that is available to me. An iron basic rule is that one sets the cuts during the assembly in such a way that one hardly feels them; this means e.g. a movement continues in the following scene, a direction of view is followed, conspicuous colours also occur in the next picture. Also acoustic characteristics, like mysterious noises, can be introduced if necessary before the scene to which they actually belong (trailers). This creates expectation and tension, it connects and accelerates. The same technique is also effective for dialogue.

A good documentary filmmaker knows how to make his subjects forget the camera. Documentaries can also contain scenes that do not require editing. They're often the best. Moving stories can be unravelled by inserts in which what has been said is visually deepened. They do not feel so painful as a "cut", but maintain continuity. Inserts that have no relation to the topic and are only placed to conceal a picture jump should be avoided.

The raw material of the documentary filmmaker is generally chaotic. There are no connections, no entry or exit possibilities, scenes suddenly break off and intermediate cuts have to be laboriously selected from the material later during editing. This is by no means always the result of bad camera work, but lies in the nature of documentary filming.

Nevertheless, it is possible and also advisable, instead of simply "keeping on top of it", to shoot it "on cut". Here one pays attention to possible connections, follows movements and gestures, reacts to the content of a conversation and then, either afterwards or beforehand, shoots selected cuts, i.e. pictures that illustrate what has been said. Camera positions (not always front light, but also side light or even back light) and setting sizes should also be considered.

Documentary films are staged. We put people we interview in the right light, position them in front of effective backdrops, encourage monologues, make decisions about what we want to show and what not in landscape scenes, architectural shots and any other shooting situation - a conscious selection with the simultaneous permanent danger of manipulation. As we can see, Bertholt Brecht's reference to the fact that "the simple reproduction of reality" does not necessarily reflect reality applies here as well.

Documentaries always present a location and point-of-view, which set values and share sympathies and antipathies. There are numerous possibilities and also necessities for the reorganization, new structure and emphasis of the filmed material. It is important to work out all original contents, actions and sounds from the raw material and to prioritise them. A story with the original sound, with natural flowing speech, full of feeling and temperament is more authentic and effective for the viewer than texts spoken as voice-over commentary.

Music also has the function of strengthening feelings and moods in documentaries. It should reflect the basic idea, the theme of the film. Less appropriate, however, is the accompaniment of dialogue passages with dramatic music, as is usual with fiction films. However, making what is said reverberate in suitable music reinforces the message and impact of a documentary.

That's all I wanted to suggest. Maybe there was something about it that some of you didn't know or something that slipped your mind during a long film career. In any case, I feel that I always need suggestions in order not to fall into routine. And if we make an effort and we are lucky that the Muse kisses us, then we may be rewarded by the charm of a successful documentary.

 

Peter Klüver

Sheltered filming

Seevetal near Hamburg is the home of Horst and Ilka Burmeister. While Ilka lovingly takes care of the garden and enjoys choral singing, her husband Horst is busy with his cameras and with the patience of angels. He claims to be too lazy to carry around big equipment for filming. Nevertheless, he has high standards for picture and sound. He loves to leave even the commercially available camera with the fold-out display at home.

His solution: add a gimble to small action cameras and a long rod as a "camera crane with manual operation", as he jokingly grins to himself. He is constantly experimenting and allows film amateurs to participate in it in an unusual way. For this purpose, he has set up his own You Tube channel to inspire our age group in particular with the many possibilities of using GoPro and the accessories tested by him. So to speak "tutored filming".

Typical Horst Burmeister subtle humour, not to take the amateur filmmaker's world so seriously. With simple words and very understandable examples, which are easily comprehensibl by the predominantly senior range of the " experienced" hobby filmmakers. The viewer is no longer surprised when Horst places a camera or the matching accessories on a letter scale to point out again and again that good technology does not have to be expensive or weighty.

In over 40 films Horst also reports on his experiments also in connection with his editing program Edius 8.5.3, once more with logical examples that can be executed step by step. Again and again Horst finds supplementary programs on the Internet, which he can use in interaction with Edius. For example, a program for aligning converging lines, which are not just created by mini-cameras.

Of course, Horst also uses his knowledge in his films, which he has made with his wife in India, Romania or Oman. Soon there will be a combined cruise and bicycle tour in the Netherlands, where of course the GoPro 4 and now also the Hero 6, with the simple accessories which Horst invented will be used again. It is admirable, the verve, a lot of patience and self-invented, small aids with which Horst Burmeister pursues his hobby: He was born in 1936! It is worth watching his atmospheric film contributions on You Tube: simply enter "Horst Burmeister Video" on the video channel.

 

Wolfgang Thomas