This thesis addresses the principles of cinematography and their significance for the visual outcome of a film. The purpose is to examine the importance of the principles for modern film and this is done through a study on how the principles are used and not used in the films Children of Men and Clerks II. The two films investigated are both known for being experimental and modern in their use of cinematography, and was therefore found suitable for this thesis. The limitation with this study is that only the four main principles of cinematography are analysed: camera angles, framings, points of view and camera movement, and they are only analysed in one shot from each film examined. In the results, the four main principles were investigated when and when not applied in the specific shot from each film. In the film Children of Men the breaking of the principle of point of view was most central, but the principle of framings and camera movement were in some cases also not applied. The only principle actually followed in this shot was the principle of camera angles. In the other film examined, Clerks II, the breaking of the principle of camera movement and camera angles was most central together with the breaking of the 180 degree rule. The principles that were followed in this clip were framings and points of view. In the conclusion the results were discussed and also the possibility of effects on the viewer, when breaking the principles. Different ideas of possible effects on the viewer were presented, but they all had disorientation in common. The possible outcome of disregarding the principles of cinematography ended up being misleading the viewer away from the narrative.

This project examines the how camera movement as a stylistic element is used as a storytelling device in the films of select international filmmakers. The main intention of the study is to trace the changing function of the mobile frame to see how a specific stylistic element develops across different narrative paradigms, national industries and between “early” and contemporary periods of filmmakers. My primary assertion is that the norms guiding the development of the tracking camera expand gradually from normative functions toward figurative uses. In order to be able to differentiate between normative and figurative uses of the tracking camera with conceptual clarity, this project adapts Roland Barthes’s typology about the narrative function of distinctive textual/stylistic units. Barthes’ conceptual framework becomes functional by assigning specific codes (hermeneutic, the semic, the proairetic, the symbolic and the cultural codes) to the interactions of the elements of narration. When transforming and changing the function of stylistic elements across their films, artists respond to a wide range of industrial, technological, aesthetic, cultural factors, from which this study focuses on socio-cultural trends. The underlying assumption of this project holds that the mentioned trends can be detected in the stylistic choices of artists. This study takes a bottom-up route: starting with an analytical interpretation of a specific aesthetic device, it moves towards an explanation that connects camera movement to larger, dynamic signifying systems. The arch of my project traces the relation between normative and figurative textual codes through the prism of camera movement.

En tant que phénomène divisé entre technique et esthétique, le mouvement de caméra s’avère parfois difficile à analyser. Comme le remarque Vivian Sobchack (1982, 317), le vocabulaire typiquement utilisé pour aborder les mouvements de caméra nous renvoie à leur processus de création et n’est pas suffisant pour rendre compte de l’expérience que nous en avons lors du visionnement d’un film. Le projet de cette thèse est d’aborder les mouvements de caméra du point de vue des rapports qui se tissent entre la caméra, le corps et l’espace, et ce, à la fois au moment de la production d’un film et dans le cadre de l’expérience spectatorielle. Un phénomène particulier guide notre étude, soit ce que nous appelons l’ « image exo- centrique ». Celle-ci propose une organisation unique du triptyque corps-caméra-espace qui se décline en trois mouvements : 1) la caméra est fixée au corps qu’elle filme, 2) elle est portée à une certaine distance du corps (devant ou derrière) et 3) elle est retournée sur le corps qui la porte. Notre étude suit ces trois mouvements en se focalisant sur trois paradigmes : la proximité, l’affranchissement, la réflexion. Pour mener à bien ce projet, cette thèse s’inspire de l’approche phénoménologique en proposant des descriptions des mouvements de caméra qui sont fondées sur l’apparence du phénomène à l’écran, une méthode qui nous permet d’écarter les préconceptions typiquement liées au vocabulaire traditionnel des études cinématographiques. Plus spécifiquement, c’est à la postphénoménologie de Don Ihde et à l’étude phénoménologique du cinéma de Vivian Sobchack que nous faisons appel afin d’interroger l’influence de la machine dans notre expérience du monde, ainsi qu’afin de reconnaître les particularités de l’expérience cinématographique. À travers la figure de l’image exo-centrique, cette thèse propose de nouvelles interprétations des mouvements de caméra en remettant en question les rapports corps-caméra- espace à travers l’histoire des techniques de prise de vues. / As a phenomenon that is as much technical as it is formal, camera movement can pose problems to those wishing to analyze it. As Vivian Sobchack (1982, 317) put it, the vocabulary typically used to describe camera movement refers back to filmmaking techniques and is not sufficient to describe the experience of camera movement as seen on screen. The goal of this dissertation is to approach camera movement from the point of view of the relations between bodies, cameras, and spaces, that is, both at the time of filming and in the context of the film viewing experience. One key example of camera movement guides this project, namely what we call “exo- centric images.” This phenomenon derives from a unique arrangement or the body-camera-space triad that is divided into three steps: 1) the camera is linked to the body which it films, 2) it is carried with, but away from, the body (in front or behind), and 3) it is flipped back onto the body that carries it. Building from these three “movements,” this dissertation focusses on three paradigmatic body-camera-space relations: proximity, emancipation, reflection. To accomplish its goal, this dissertation builds from phenomenology by proposing descriptions of camera movements that are based solely on the appearance of the phenomenon perceived on screen, a method that allows us to be free from the preconceptions tied to the vocabulary typically used in film studies. More specifically, we call upon Don Ihde’s postphenomenology as well as Vivian Sobchack’s film phenomenology as a way to question the intermediary role of a machine in our experience of the world, as well as to recognize the specificities of the film viewing experience. Through the exo-centric image, this dissertation puts forward new ways of interpreting camera movement by interrogating the relations between bodies, cameras and spaces throughout the history of filmmaking techniques.

Dans la première partie de la thèse, nous présentons un nouveau système permettant de produire des mouvements de caméra réalistes pour l’animation stopmotion. Le système permettra d’enrichir les logiciels d’animation 3D classiques (comme par exemple Maya et 3D Studio Max) afin de leur faire contrôler des mouvements de caméra pour la stop motion, grâce à l’utilisation d’une interface haptique. Nous décrivons le fonctionnement global du système. La première étapeconsiste à récupérer et enregistrer les données envoyées par le périphérique haptique de motion capture. Dans la seconde étape, nous réélaborons ces données par un procédé mathématique, puis les exportons vers un logiciel de 3D pour prévisualiser les mouvements de la caméra. Finalement la séquence est exécutée avec un robot de contrôle de mouvement et un appareil photo. Le système est évalué par un groupe d’étudiants du Master "Art plastiques et Création numérique" de l’Université de Valenciennes. Dans la deuxième partie, nous définissons une nouvelle classe de courbes à partir des courbes polynomiales paramétriques à hodographe pythagorien (PH) construite sur un espace algébrique-trigonométrique. Nous montrons leurs propriétés fondamentaleset leurs avantages importants par rapport à leur équivalent polynomial, grâce à l’utilisation d’un paramètre de forme. Nous introduisons une formulation complexe et nous résolvons le problème d’interpolation de Hermite. / In the first part, we present a new system that allows to create realistic cameramovements for a stop motion animation. The system improves traditional 3D software animation programs (for example Maya and 3D Studio Max) for creatingstop motion camera movements by using an haptic interface. After describing thewhole system, we explain in detail the mathematical processing to obtain differentcamera movements by using an haptic interface for motion capture. The recordedhaptic positions, once elaborated, are exported, frame by frame, to the motioncontrol software, which allows to calibrate the motion control robot, to control thecamera settings and, finally, to execute the sequences. A class of students of the"Art plastiques et Création numérique" Master of the University of Valenciennesevaluated the system. In the second part, we define a new class of Pythagorean Hodograph curves built upon a five dimensional mixed algebraic trigonometric space, and show their fundamental properties and important advantages over their well known polynomial counterpart. A complex representation for these curves is introduced and constructive approaches are provided to solve the first order Hermite interpolation problem.

[ES] El objetivo de esta investigación es definir a una infovisualización animada y establecer una metodología de análisis para determinar la incidencia de cada uno de sus componentes dentro de una pieza audiovisual. Para ello, se integra un enfoque desde las dos vertientes de las cuales proviene el término: el grafismo informativo y el grafismo animado; lo que ofrece una perspectiva global del fenómeno. A partir de ahí, se establecen las bases conceptuales necesarias para extrapolar las propiedades comunes de lo informativo, del diseño y del audiovisual, e interpretarlos como un nuevo lenguaje que propone un mensaje concreto, claro, atractivo y efectivo para alcanzar una transposición didáctica entre el productor de contenido y su audiencia. Posteriormente se presenta un estudio de casos para comprobar la factibilidad de uso de la metodología, convirtiéndose en una propuesta para el desarrollo de la alfabetización visual aplicada al grafismo informativo en movimiento, área de continuo crecimiento y relevancia dentro de la comunicación. Al final, se despliegan nuevas líneas de investigación que permitan complementar el estudio y contribuyan a consolidar la pertinencia de este lenguaje. / [CA] Aquesta investigació pretén definir el concepte d'infovisualització animada i establir una metodologia d'anàlisi per a determinar la incidència de cadascun dels seus components dins d'una peça audiovisual. Adequarem un enfocament basat en els dos vessants de les quals prové el terme: el grafisme informatiu i el grafisme animat; el que ofereix una perspectiva global del fenomen. A partir d'ací, s'estableixen les bases conceptuals necessàries per a extrapolar les propietats comuns de l'informatiu, del disseny i de l'audiovisual, i interpretar-los com un nou llenguatge que proposa un missatge concret, clar, atractiu i efectiu per a aconseguir una transposició didàctica entre el productor de contingut i la seua audiència. Posteriorment es presenta un estudi de casos per a comprovar la factibilitat d'ús de la metodologia, convertint-se en una proposta per al desenvolupament de l'alfabetització visual aplicada al grafisme informatiu en moviment, àrea de continu creixement i rellevància dins de la comunicació. Al final, es despleguen noves línies d'investigació que permeten complementar l'estudi i contribuïsquen a consolidar la pertinència d'aquest llenguatge. / [EN] This research seeks to define the concept of animated info-visualization and establish an analysis methodology to determine the incidence of each of its components within an audiovisual piece. An approach based on the two aspects from which the terms informative graphics and animated graphics come was applied. This approach offers a global perspective of the phenomenon. From there on, the necessary conceptual bases were established to extrapolate the common properties of the information content, its design and audiovisual, to interpret them as a new language. Then a concrete, clear, attractive and effective message was proposed to achieve a didactic transposition between the content producer and their audience. Subsequently, a case study was presented to verify the feasibility of using this methodology, which became a proposal for the development of visual literacy applied to informative graphics in motion. This is an area of continuous growth and relevance within communication. In the end, new lines of research are deployed to complement the study and help consolidate the relevance of this language. / Vintimilla Ugalde, ÓG. (2022). Las infovisualizaciones animadas y su influencia dentro de la transposición didáctica audiovisual [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/186190

This thesis focuses on real-time visual object tracking with emphasis on problems caused by a long-term tracking task. Among theses problems belong primarily an occlusion problem, both the partial and the full one, and appearance changes of the object during the tracking. The work is also concerned with tracking objects of a very limited size and unsteady camera movements. These two particular problems are relatively common when tracking distant objects. A part of this work is also a summary of related work and a proposal of a system with high qualitative stability and robustness to problems mentioned. The proposed system was implemented and the evaluation demonstrated that it is capable of solving these problems partially.

Traditional cameras are most commonly used in visual SLAM to provide visual information about the scene and positional information about the camera motion. However, in the presence of varying illumination and rapid camera movement, the visual quality captured by traditional cameras diminishes. This limits the applicability of visual SLAM in challenging environments such as search and rescue situations. The emerging event camera has been shown to overcome the limitations of the traditional camera with the event camera's superior temporal resolution and wider dynamic range, opening up new areas of applications and research for event-based SLAM. In this thesis, several asynchronous feature detectors and trackers will be used to initialize SLAM using event camera data. To assess the pose estimation accuracy between the different feature detectors and trackers, the initialization performance was evaluated from datasets captured from various environments. Furthermore, two different methods to align corner-events were evaluated on the datasets to assess the difference. Results show that besides some slight variation in the number of accepted initializations, the alignment methods show no overall difference in any metric. Overall highest performance among the event-based trackers for initialization is HASTE with mostly high pose accuracy and a high number of accepted initializations. However, the performance degrades in featureless scenes. CET on the other hand shows mostly lower performance compared to HASTE.