(Thanks to Bernard Scharp)
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Featured Comments from:
Mark Kinsman: "Flickr did not get that memo...."
Jim Bullard: "Given the reference to website operators I don't think Ken Burns was the target."
Mike replies: No, it's just the name of the practice. Wikipedia has an article explaining it. (Note that I had the name wrong at first...I called it "Ken Burns Syndrome" and that's wrong, it's called "the Ken Burns Effect." My bad memory.)
From the linked article: "Steve Jobs and Apple engineers met with Burns to obtain the filmmaker's permission to use the term 'Ken Burns Effect' for Apple's video production software. (The description had been Apple's internal working title while the feature was in development). Burns declined, saying that he didn't allow his name to be used for commercial purposes. Jobs then took Burns aside and the two agreed on a sum that would be donated to charity in order for Burns to allow the term's usage in Apple products.
"Burns says that on occasion, strangers will stop him on the street to enthusiastically describe how they use the Ken Burns Effect on their Apple software. Burns, who writes his speeches longhand and calls himself a Luddite, claims he doesn't really understand what these Apple users are telling him (despite the inherent technical sophistication required in modern documentary filmmaking) and tries his best to make a quick escape." (Citations at the link.)
Bob Rosinsky: "Pan to the right, zoom in. Pan to the left, zoom in. I know the guys (Ed Searles and Ed Joyce) who shot Ken Burns' photo sequences for documentaries such as 'The Civil War' and 'Baseball The Tenth Inning.' They also shot Blackside Inc.'s 'Eyes on the Prize.'
"The two Eds owned and operated a motion-control studio called The Frame Shop in Newton, MA. Their animation stand was outfitted with a 1920s Mitchell movie camera (Mitchells are known for their rock-solid single frame accuracy). They adapted the camera and copy stand to a computerized motion-control system. I think their rig had at least four or five axes. Each move was shot single frame onto 35mm film and then transferred to video. Anybody that has worked in the Boston film and video community from the 1980s up to the turn of the century likes and respects the two Eds. Broadcast and cinematic camera moves on flat art are now executed through software and high-resolution scans. The digital age mothballed their craft. Here's a link that describes the Eds, their studio, and lists many interesting clients that hired them."