The image of happiness and most beautiful panorama ever.

Panorama du grand Canal pris d'un bateau (1896)

Mrs. Auguste Lumiere, Auguste Lumière, and Andrée Lumière in Baby's Meal (1895)

Georges Méliès in Going to Bed with Difficulties (1900)

Le village de Namo - Panorama pris d'une chaise à porteurs

Le village de Namo - Panorama pris d'une chaise à porteurs (1900)

A black and white short in which a moving rear facing camera documents people running towards it on the street.

Gabriel Veyre

Le village de Namo - Panorama pris d&apos;une chaise à porteurs

I don&apos;t think it&apos;s known exactly who shot the first panorama, but it was certainly a cameraman from the Lumière team. Promio is generally considered the author of the inaugural Panorama, when in 1896 he discovered that by placing the camera on a gondola in Venice, he could give movement not only to the images in the frame but also to the frame itself (in this case, like someone looking out the window of a train moving from left to right in the direction of travel, from the gondola seeing a curtain of Venetian palaces).

But that same year, another Lumière cameraman shot Panorama pris d&apos;un bateau. Cologne (in this case, moving from right to left, the boat turns, giving the possibility of seeing not only the shore but also opening up to the sea). And there&apos;s even a third panorama by an unknown filmmaker: Panorama de l&apos;arrivée en gare de Perrache pris du train, which captures the canonical form of &quot;what is seen from the window of a train,&quot; now in the opposite direction, with the images receding in perspective. Without knowing the exact execution dates of these three panoramas, we have no choice but to attribute this important discovery to Promio, in keeping with tradition.

From then on, the technique became a trend: the camera would be mounted on ships, trains, gondolas, elevators, trucks, carts, and any available means of transportation (even a hot-air balloon), and they would film that fascinating lateral movement of the frame, as if from a train window.

I suppose we should assume it was later, although the date is still apparently 1896, when Charles Pathé filmed Voyage dans un train, and initiated a different type of panorama. Now we placed the camera in front or behind (in this case, in front) and we had a completely different movement of the frame, with the camera moving away from or toward the objects in the shot.

According to this, Promio&apos;s &quot;Departure from Jerusalem on the Ferry Trail&quot; and American Mutoscope Company&apos;s &quot;The Haverstraw Tunnel,&quot; both from 1897, were not the originators of the famous &quot;Phantom Ride,&quot; as many claim (and in no case would it be the first tracking shot, considering the antecedents noted from 1896). In the first, Promio includes a new variation: the camera placed on the back of a train records not only the landscape (rural or urban), but also people moving forward and waving at the camera. The steady forward movement of the camera and the slower, but also steady, gait of the men makes these figures increasingly distant from the moment they enter the frame.

The most beautiful of these panoramas that we could consider &quot;Phantom Ride&quot; style, is this Village de Namo, Le panorama pris d&apos;une chaise à porteres, by Gabriel Veyre, one of the most beautiful shots in the history of cinema.

We now have the camera mounted on the back of a pickup truck, moving away from a group of Namo residents, adults and children, when suddenly a child starts walking toward the camera, and immediately many more appear, running excitedly. It&apos;s a chaotic movement that unfolds beautifully, with the children running, stopping, starting to run again, and laughing nonstop. They cross the frame from right to left and left to right.

Furthermore, the camera no longer maintains a fixed frame, but moves away laterally; there are small movements to the right and left, and with this, it brings the children in and out of the frame.

It&apos;s no longer a stable relative movement; now the children approach as they run faster, move away as they stop, appear on the right when the camera pans to the right, and cross from side to side as they run at full speed. It&apos;s a totally new and different rythm. In the end, the frame stabilizes, focusing on the first child, who looks at us with amusement and interest as he runs slowly, knowing that he has once again captured the camera&apos;s interest.

The narrator of Sans Soleil said at the beginning of the film that he considered an encounter with three children on a road in Iceland in 1965, which he captured on camera, to be his idea of happiness. I think all of us who have seen this unforgettable shot from 1900 in a small village in Indochina can say the same. The narrator also said he had tried to combine it with other shots...unsuccessfully. I don&apos;t think Gabriel Veyre had anything like that in mind, nor would it be necessary.

I don't think it's known exactly who shot the first panorama, but it was certainly a cameraman from the Lumière team. Promio is generally considered the author of the inaugural Panorama, when in 1896 he discovered that by placing the camera on a gondola in Venice, he could give movement not only to the images in the frame but also to the frame itself (in this case, like someone looking out the window of a train moving from left to right in the direction of travel, from the gondola seeing a curtain of Venetian palaces).

But that same year, another Lumière cameraman shot Panorama pris d'un bateau. Cologne (in this case, moving from right to left, the boat turns, giving the possibility of seeing not only the shore but also opening up to the sea). And there's even a third panorama by an unknown filmmaker: Panorama de l'arrivée en gare de Perrache pris du train, which captures the canonical form of "what is seen from the window of a train," now in the opposite direction, with the images receding in perspective. Without knowing the exact execution dates of these three panoramas, we have no choice but to attribute this important discovery to Promio, in keeping with tradition.

From then on, the technique became a trend: the camera would be mounted on ships, trains, gondolas, elevators, trucks, carts, and any available means of transportation (even a hot-air balloon), and they would film that fascinating lateral movement of the frame, as if from a train window.

I suppose we should assume it was later, although the date is still apparently 1896, when Charles Pathé filmed Voyage dans un train, and initiated a different type of panorama. Now we placed the camera in front or behind (in this case, in front) and we had a completely different movement of the frame, with the camera moving away from or toward the objects in the shot.

According to this, Promio's "Departure from Jerusalem on the Ferry Trail" and American Mutoscope Company's "The Haverstraw Tunnel," both from 1897, were not the originators of the famous "Phantom Ride," as many claim (and in no case would it be the first tracking shot, considering the antecedents noted from 1896). In the first, Promio includes a new variation: the camera placed on the back of a train records not only the landscape (rural or urban), but also people moving forward and waving at the camera. The steady forward movement of the camera and the slower, but also steady, gait of the men makes these figures increasingly distant from the moment they enter the frame.

The most beautiful of these panoramas that we could consider "Phantom Ride" style, is this Village de Namo, Le panorama pris d'une chaise à porteres, by Gabriel Veyre, one of the most beautiful shots in the history of cinema.

We now have the camera mounted on the back of a pickup truck, moving away from a group of Namo residents, adults and children, when suddenly a child starts walking toward the camera, and immediately many more appear, running excitedly. It's a chaotic movement that unfolds beautifully, with the children running, stopping, starting to run again, and laughing nonstop. They cross the frame from right to left and left to right.

Furthermore, the camera no longer maintains a fixed frame, but moves away laterally; there are small movements to the right and left, and with this, it brings the children in and out of the frame.

It's no longer a stable relative movement; now the children approach as they run faster, move away as they stop, appear on the right when the camera pans to the right, and cross from side to side as they run at full speed. It's a totally new and different rythm. In the end, the frame stabilizes, focusing on the first child, who looks at us with amusement and interest as he runs slowly, knowing that he has once again captured the camera's interest.

The narrator of Sans Soleil said at the beginning of the film that he considered an encounter with three children on a road in Iceland in 1965, which he captured on camera, to be his idea of happiness. I think all of us who have seen this unforgettable shot from 1900 in a small village in Indochina can say the same. The narrator also said he had tried to combine it with other shots...unsuccessfully. I don't think Gabriel Veyre had anything like that in mind, nor would it be necessary.

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Le village de Namo - Panorama pris d'une chaise à porteurs

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