This thesis is an investigation on the changing concept of space and its production, through a reconsideration of montage in the digital environment. Since the beginning of the twentieth century, collage and montage have been one of the key terms that lead the movements of art and architecture. Towards the end of the 80s, however, as a result of the introduction of the digital environment, the quality and quantity of methods of production and transfer of knowledge have increased and the flow of information has gained a noticeable importance. Through recent developments, the digital environment offers many opportunities for representation in architectural field as well as other professions. Montage, which is a technique for construction of a new meaning or entity throughout its history, now changes its character with the infinitely many opportunities digital environment proposes as well. Therefore, this thesis tries to examine the changing scope and formulation of montage in this specific environment through the example of digital compositing which is a recent design and production technique used in the field of photography and cinema. Digital compositing provides layering, editing and merging numerous elements in one frame. Through its inherent potential of decomposing time and juxtaposing different modes of realities, the concept of space and production and visualization techniques in the digital medium change also affecting the roles of the designer and the user in the process. Thus, this new formulation brings forward a new understanding of design process that acts as an interface both spatially and temporally.

<p>I dagens visuella effekter är digital compositing en av de viktigaste processerna. Från att uteslutande ha utförts i 2D har digital compositing dock kommit att innebära en alltmer tredimensionell process. Det här arbetet reder ut begreppet 3D-compositing och sammanställer vilka 3D-compositingtekniker som är vanligt förekommande. Ett urval av dessa tekniker tillämpas sedan i en egen effektsekvens. Slutsatsen blir att det är kombinationen av 3D-funkionalitet och 2D-compositing i samma program som är styrkan med digital compositing i 3D-miljö.</p>

Photorealism is what visual effects are all about most of the time. This report entails digital compositing and studio lighting, in relation to Chroma key film material, aimed to give a photorealistic impression.    One of the identified problems in this report is that compositors may get Chroma key footage where the lighting is done poorly, which means a lot of extra work for the compositors and it might even make it impossible to create the desired end result.    Another problem recognized is that the knowledge that these professions possess is often tacit, not available in texts or even functionally defined.    Considering these problems, the purpose of this report is to articulate and try the tacit knowledge found in respect to these research questions: Which factors can alter the photorealistic impression of filmed Chroma key material? To what extent can different factors be altered in the compositing process, for a photorealistic result? How can a photorealistic result from composited Chroma key material be enabled and facilitated, with focus on studio lighting?       Methods used to answer these questions are interviews with compositors, a case study of a small video production, and the production of video clips, including studio lighting and compositing.    While professionals often write about the importance of consistency in image characteristics between different element that are composited together, this report defines which specific features that ought to be consistent, for a photorealistic result.    Further findings are focused on the limitations of the compositor; i.e. the features that are possible to manipulate and the features that have to be set correctly when filming in the studio, to enable a photorealistic outcome. Nonetheless, the main focus will be on the features of lighting set in the Chroma key film studio.    In fact, there are many features that are crucial for enabling and facilitating the compositing of a photorealistic end product. While some of the findings are new, others confirm what has already been presented.

I dagens visuella effekter är digital compositing en av de viktigaste processerna. Från att uteslutande ha utförts i 2D har digital compositing dock kommit att innebära en alltmer tredimensionell process. Det här arbetet reder ut begreppet 3D-compositing och sammanställer vilka 3D-compositingtekniker som är vanligt förekommande. Ett urval av dessa tekniker tillämpas sedan i en egen effektsekvens. Slutsatsen blir att det är kombinationen av 3D-funkionalitet och 2D-compositing i samma program som är styrkan med digital compositing i 3D-miljö.

Text in English, with abstracts and keywords in English, Zulu and Xhosa / Link to the dataset (catalogue): https://doi.org/10.25399/UnisaData.14101913.v1 / Digital image editing is rooted in the analog practices of photographic retouching from the late nineteenth century. This study interrogated how novel contributions of new media practice can inform understanding of the relationship between digital and analog media. The study also sought to explore new conceptual avenues in the creation of digital art that incorporates key aspects of both new and traditional media. This study employed a literature review of selected discourses related to new media studies. Specifically, the work of scholars Lev Manovich, Jay David Bolter, Richard Grusin, and Filipe Pais on the interplay between traditional and new media formed the cornerstone of the analysis. These discourses contextualise an analysis of several contemporary case studies of digital artists, with a particular focus on John Craig Freeman and the Oddviz collective. These works were selected for the way in which they destabilise conventional notions of digital photography in new media and the way digital content can be ‘displaced’ into a physical space. From this analysis several concepts arise that serve as distinguishing markers for media displacement. These themes include embodiment, memory, identity formation, autotopography, and intermediality. The dissertation concludes with an overview of my work that incorporates the concepts derived from my analysis of the case studies. It discusses how my exhibition Digital Tourist, a mixed media installation, makes use of photogrammetry and AR to displace the private connections of an individual life into the public space of the gallery. / Ukuhlelwa kwezithombe zezindaba zedijithali kususelwe emikhubeni ye-analokhu yokuthwebula kabusha izithombe kusukela ngasekupheleni kwekhulu leshumi nesishiyagalolunye leminyaka.. Lolu cwaningo luphenye ukuthi iminikelo yenoveli emisha yokwenziwa kwezezindaba ezintsha zingakwazisa kanjani ukuqonda kobudlelwano phakathi kwezindaba zedijithali ne-analokhu. Ucwaningo luphinde lwafuna ukubheka izindlela ezintsha zomqondo ekwakhiweni kobuciko bedijithali obufaka izinndaba ezibalulekile kokubili kwezokuxhumana nezendabuko ezintsha. Izinkulumo ezikhethiwe ezihlobene nezifundo zezindaba ezintsha zibuyekeziwe. Ngokuqondile, umsebenzi wezazi uLev Manovich, Jay David Bolter, Richard Grusin noFilipe Pais ekusebenzisaneni phakathi kwabezindaba bendabuko nabasha kwakha okuzobhekwa ngqo uma kuhlaziywa. Lezi zinkulumo zigxila ekuhlaziyweni kwezifundo zamanje zamaciko edijithali, kugxilwe kakhulu kuJohn Craig Freeman kanye neqoqo le-Oddviz. Le misebenzi yakhethwa ngendlela yokuthi ingazinzisi imiqondo ejwayelekile yokuthwebula izithombe zedijithali emithonjeni emisha kanye nokuthi okuqukethwe kwedijithali "kungahanjiswa kanjani" endaweni ebonakalayo. Ukusuka kulokhu kuhlaziywa kuvela imiqondo eminingana esebenza njengezimpawu ezihlukanisayo zokufuduswa kwabezindaba. Lezi zingqikithi zifaka phakathi ukwakheka, inkumbulo, ukwakheka kobunikazi, ukuziphendulela kanye nokuzibandakanya. Idezetheyishini iphetha ngokubuka konke ngomsebenzi wami ohlanganisa imiqondo esuselwe ekuhlaziyweni kwami kwezifundo zocwaningo. Ingxoxo ihlanganisa ukuthi umbukiso wami we-Zivakashi zeDijithali, ukufakwa kwabezindaba okuxubile, isebenzisa uhlelo lokuthwebula olusebenzisa ulimi noma ifothogrametri ne-AR ukukhipha ukuxhumana kwangasese kwempilo yomuntu ngamunye endaweni yomphakathi yegalari. / Ukuhlela imifanekiso yedijithali yinkqubo eyendeleyo, nowaqalwa kwiminyaka yokugqibela yenkulungwane yeshumi elinethoba, kwimisebenzi yezifaniso/yeanalogu ekuhlaziyweni kweefoto. Esi sifundo siphonononga ukuba igalelo elikhethekileyo leendlela ezintsha zonxibelelwano lwemiboniso/imidiya lingenza njani ukuqinisa ukuqonda unxulumano phakathi kwemiboniso yedijithali neyeanalogu. Kwakhona, esi sifundo sizama ukuphanda iindlela ezintsha ezisetyenziswa kubugcisa bedijithali neziquka imiba ephambili yemiboniso yale mihla neyakudala. From this analysis several concepts arise that serve as distinguishing markers for media displacement. These themes include embodiment, memory, identity formation, autotopography and intermediality. Kuphononongwe iingxoxo ezithile ezimalunga nezifundo zemiboniso yale mihla. Kuqwalaselwe ngakumbi imisebenzi yeengcali ooLev Manovich, Jay David Bolter, Richard Grusin kunye noFilipe Pais malunga nonxulumano phakathi kwemiboniso yakudala neyale mihla njengesiseko solu hlalutyo. Ezi ngxoxo zifaka emxholweni uhlalutyo lwezifundo zokuzekelisa zale mihla malunga nabazobi bale mihla, kugxininiswa kwindibanisela ka John Craig Freeman nekaOddviz. Le misebenzi ikhethwe ngenxa yokuba iyazichitha iingcinga eziqhelekileyo malunga nokufota ngedijithali kwimiboniso yale mihla nangendlela iziqulatho zedijithali “zinokushenxiswa” zisiwe kwindawo ebambekayo. Olu hlalutyo luveze iingcinga eziliqela nezisebenza njengeempawu zoshenxiso lwemiboniso. Imixholo iquka imifuziselo, ukukhumbula, ukwenziwa kwesazisi, ukuzazisa ngezinto onazo, unxulumano phakathi kwemiboniso eyahlukeneyo Le ngxelo yophando igqibela ngokushwankathela umsebenzi wam ohlanganisa iingcinga ezivele ekuhlalutyeni kwam izifundo ezingumzekelo. Ingxoxo ibonisa ukuba umboniso wengqokelela yemisebenzi yam owaziwa ngokuba yiDigital Tourist, ubusebenzise njani ubuchwepheshe ekuthiwa yifotogrametri (obokufumana ulwazi ngokuhlalutya imifanekiso) ekushenxiseni unxulumano lwabucala lobomi bomntu ibubeke kwindawo ebonwa nguwonkewonke apho kubukwa imifanekiso neefoto (igalari). / https://doi.org/10.25399/UnisaData.14101913.v1 / Arts and Music / M.A. (Visual Arts)