Execution Of Axis Spies By Allied Firing Squad (1945) | British Pathé
This archive footage from World War II depicts the execution of two Hitler youths, aged 16 and 17, by an Allied firing squad for espionage against American forces in the Aachen area.
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Location Unknown / Unclear.
Two prisoners are taken out of lorry by American Military Police and brought to execution spot - two poles. Two lines of coffins are seen on each side. One of the prisoners is tied to a pole. Firing squad march in. They fire, the man drops on ground. Another prisoner is tied to pole, firing squad fires and dead man drops on ground. The soldiers remove him and bring another prisoner. Firing squad march off and are replaced by another firing squad for further executions. More shots of the men being executed in the same way. Executed men are placed in coffins.
Notes: This footage could include the execution of 2 Hitler youths, aged just 16 and 17. This article about it was in the newspaper:
Two Hitler youths, aged 16 and 17, have been executed by an Allied firing squad for espionage against American forces in the Aachen area.
The boys, Heinz Petry and Josef Schoner, who were caught hiding in, a foxhole on February 22, near Birdgen, told the court they had been confined in a military camp and were offered a chance to clear their characters by reporting on American troop movements
BRITISH PATHÉ'S STORY Before television, people came to movie theatres to watch the news. British Pathé was at the forefront of cinematic journalism, blending information with entertainment to popular effect. Over the course of a century, it documented everything from major armed conflicts and seismic political crises to the curious hobbies and eccentric lives of ordinary people. If it happened, British Pathé filmed it.
Now considered to be the finest newsreel archive in the world, British Pathé is a treasure trove of 85,000 films unrivalled in their historical and cultural significance.
British Pathé also represents the Reuters historical collection, which includes more than 120,000 items from the news agencies Gaumont Graphic (1910-1932), Empire News Bulletin (1926-1930), British Paramount (1931-1957), and Gaumont British (1934-1959), as well as Visnews content from 1957 to the end of 1979. All footage can be viewed on the British Pathé website.
Dance Moms: Ugly Dance-Off | No Moms Allowed Kickoff Special | Lifetime
Mackenzie judges an impromptu ugly dance-off in this bonus scene from No Moms Allowed. #DanceMoms
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Dance Moms
Season 6
Episode 1
No Moms Allowed Kickoff Special
Dance Moms follows Abby Lee Miller and the nation's favorite tween dancers as they take on Hollywood while new auditions, new competitions, and new studios raise the stakes.
Lifetime® is a premier female-focused entertainment destination dedicated to providing viewers with a diverse selection of critically acclaimed and award-winning original movies, scripted dramas, and unscripted programming. A favorite and trusted network for women, we are continually building on our heritage by attracting top Hollywood talent and producing shows that are modern, sexy, exciting, daring, and provocative. Visit us at myLifetime.com for more info.
Süntelbuchen
The film shows the beauty of the last Dwarf Beeches.
'Süntel-Buche' is the german name for 'Dwarf Beech'. It's a kind of European Beech, indigenous to the Süntel massif in Germany, but almost extinct now. Because the trees refuse to grow straight, their wood has no industrial or economic value and so huge forests of them were cleared about 200 years ago. Only about 100 (current estimate, if I remember correctly) genetically pure trees survived the purge until today. All of them are now at the end of their lifespan and start dying.
Inspired by the music of Brian Tyler (Partition, thanks again for letting me use the music), I started 'Süntelbuchen' as my first time lapse project and thought how hard can it be?.
Well, it took five years (2010-2015). First of all I needed cloudless skies or the light patches would flicker, then I needed totally calm air or the leaves and twigs would jitter annoyingly. I also needed to learn how fast and in which direction to move the camera and where the sun moves and when (e.g. if you move the camera faster than the patches of light the effect is gone). Of course I also needed days when there were no people around that could end up in the frame - which wasn't easy because people tend to go outside when it's calm and cloudless.
All in all I only got about three or four days of perfect conditions each year because the location is quite exposed and always windy. So I had to be well prepared to make the most of the limited time but despite all preparation I still messed up a lot. This was a more difficult process than I expected. The setup time for an improvised time lapse crane can easily exceed two hours and carting 100kg of equipment (counterweights!) through the forest isn't fun either. I have missed my share of sunrises or sunsets because I wasn't quick enough to set up or move the gear and subsequently program the camera movement. Here is some Behind The Scenes material:
Unfortunately they started felling many trees, leaving gaping holes in the crowns, and built houses nearby that cast shadows. Almost all of the live action shots are test shots that I wasn't able to redo properly because the prominently featured trees were simply gone or no longer lit interestingly. Fortunately the material I had cut well and came out quite watchable. Now, just imagine square kilometers of these trees. That must have been really impressive...
Some technical info for gearheads:
I shot entirely with a Canon 5D Mark II - before Magic Lantern Raw was available. All motion control equipment, cranes, dollies and sliders were Kessler gear. During daylight I used ND filters to keep exposure times at about 20 seconds (at ISO 100-400) in order to have motion blur make moving leaves look less aggressive. I took a picture every 25 to 40 seconds. Each shot in the film equals between 1.5 and 3 hours of real time. F-stops for the time lapse shots were between f/11 and f/32, whereas live action was shot wide open. I always shot in aperture priority and during sunrise or sunset I removed/added ND filters and/or changed the ISO manually in the gaps between the camera taking photos. Except for a primary color correction the shots are untreated. No VFX were used, not even deflickering. The swirly bokeh is from a Zeiss Biotar 75mm @ f/1.5.
About the name:
I know it's actually written 'Süntel-Buche' and not 'Süntelbuche'. But I found the latter to be much more visually pleasing in the context of the film and deliberately took some artistic license.
Wunstorf to Steinhuder Meer by Road I Beauty of Germany
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Es waren alle herzlich eingeladen dort auch durch ein Teleskop zu schauen und viele haben dies in Anspruch genommen!
Wilk Luftaufnahmen hat einen kleinen Film von dem herrlichen Nachmittag gedreht (bedingt durch die Windböen, leider nur vom Boden) Aber trotzdem vermittelt es einen kleinen schönen Eindruck von der erfolgreichen Veranstaltung!
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