Denna rapport beskriver processen som projektledare/bildkoordinator på företaget The Chimney Pot genom hela processen inom postproduktion av en långfilm. Rapporten är utförd i kursen Praktiskt examensarbete inom programmet IT, medier och design på Södertörns högskola under VT 2012. Rapporten beskriver olika faser inom projektledning och hur man använder modeller och verktyg för planering, informationshantering, kommunikation och hur man tillämpar lämpliga modeller för olika projekt. Rapporten innehåller teorier om projektledning och beskrivning hur dessa är använda i det praktiska arbetet med att göra en långfilm, från planering och uppföljning med team till leverans av färdig film till kund. Något som visat sig under projektets gång är hur viktig del kommunikation och tydlighet är i projektarbete samt hur mycket samarbete det krävs inom projektteamet. Denna rapport beskriver kommunikation i teorin samt hur kommunikation använts i detta projekt. / This is a Bachelor thesis report from the programme: IT, Media and Design from Södertörns högskola, spring semester 2012. The report describes the view of a project manager/picture coordinator working at a company within post production, more specifically at The Chimney Pot. The post production process is fully described as well as the different phases of project management. Furthermore, this report includes the theories of project management and describes the implementation of these theories in practical work related to post production of feature film. Consequently, all different steps from planning to follow-up are covered. Hence, the importance of working as a team during big productions is addressed, this in order for a successful delivery of the final product to the client. Something proved during this project is the importance of communication and the importance of working as a team within the project. This report describes communication in theory and how the communication used in this project.

This thesis develops the method of using textures projected from the perspective of a projection camera, in combination with two-dimensional paintings and threedimensional models, to create digital environments. Past uses have demonstrated effectiveness only for background and midground scene elements with limited camera movement. This work explores how camera animation can be maximized using the projected texture technique onto foreground environment forms. Through several case studies, general guidelines for artists are developed for using camera-based projected textures.

This paper provides a look at the making of a microbudget feature film. It seeks to explain my growth as a filmmaker and an artist, through the challenges, both narrative and practical, that I encountered, as well as provide documentation following the process. Hope for a Thorn: The Making of a Microbudget Digital Feature Film includes elements from each phase of filmmaking, from script and preproduction to the marketing plan. This document shows the tremendous amount of preparation and planning that goes into the making of a microbudget digital feature film.

This study aimed to contest political and cultural stereotypes depicted through the verbal and audio-visual languages used to represent the Rwandan genocide in the films, A Good Man In Hell(2002), Hotel Rwanda(2004), Sometimes In April(2005) and Keepers of Memory(2004). A Good Man in Hell criticised the racism that influenced the international community not to help Rwandans stop the genocide. In Hotel Rwanda, mostly the Tutsis died during the genocide of 1994. Sometimes in April revealed that the Hutu middle class engineered the genocide. Keepers of Memory depicted the gendered nature of the language of genocide and showed that women were silenced at various levels. The films partially succeeded in depicting the Rwandan genocide because the films did not sufficiently foreground the socio-economic factors that created the conditions for genocide to happen. The study suggested that future research on film representations could compare and contrast cases of genocide in Africa. / English Studies / Thesis ( MA (African Languages))

Esta dissertação tem como objetivo o relato das apresentações de Fluidos, o primeiro projeto realizado no formato CineVivo. Trata-se de uma experiência inédita de longa-metragem realizado ao vivo, com captação, edição e exibição simultâneas. Em diversas locações, atores encenam a história de ficção captada por três câmeras. Essas imagens são transmitidas para a edição em tempo real e a exibição para os espectadores na sala de cinema. As apresentações aconteceram no Centro Cultural São Paulo, no Sesc Pompeia e no CineSESC entre o período de maio de 2009 a maio de 2010. Em anexo, encontram-se o último tratamento do roteiro, o DVD com a versão apresentada no CineSESC e as principais reportagens publicadas na mídia. / The aim of this dissertation is to report the exhibitions of Fluids. This is the first project completed in the format CineVivo. It is a new experience for feature film performed live, with capture, editing and projection simultaneously. At several locations, cast acts the story captured by three cameras that transmit live for realtime editing and projection in the theater. The film was screened at Centro Cultural São Paulo, SESC Pompeia and CineSESC, between May 2009 to May 2010. Attached the last screenplays treatment, DVD with the version presented in CineSESC, and main reports in the media.

This study aimed to contest political and cultural stereotypes depicted through the verbal and audio-visual languages used to represent the Rwandan genocide in the films, A Good Man In Hell(2002), Hotel Rwanda(2004), Sometimes In April(2005) and Keepers of Memory(2004). A Good Man in Hell criticised the racism that influenced the international community not to help Rwandans stop the genocide. In Hotel Rwanda, mostly the Tutsis died during the genocide of 1994. Sometimes in April revealed that the Hutu middle class engineered the genocide. Keepers of Memory depicted the gendered nature of the language of genocide and showed that women were silenced at various levels. The films partially succeeded in depicting the Rwandan genocide because the films did not sufficiently foreground the socio-economic factors that created the conditions for genocide to happen. The study suggested that future research on film representations could compare and contrast cases of genocide in Africa. / English Studies / Thesis ( MA (African Languages))

Esta dissertação tem como objetivo o relato das apresentações de Fluidos, o primeiro projeto realizado no formato CineVivo. Trata-se de uma experiência inédita de longa-metragem realizado ao vivo, com captação, edição e exibição simultâneas. Em diversas locações, atores encenam a história de ficção captada por três câmeras. Essas imagens são transmitidas para a edição em tempo real e a exibição para os espectadores na sala de cinema. As apresentações aconteceram no Centro Cultural São Paulo, no Sesc Pompeia e no CineSESC entre o período de maio de 2009 a maio de 2010. Em anexo, encontram-se o último tratamento do roteiro, o DVD com a versão apresentada no CineSESC e as principais reportagens publicadas na mídia. / The aim of this dissertation is to report the exhibitions of Fluids. This is the first project completed in the format CineVivo. It is a new experience for feature film performed live, with capture, editing and projection simultaneously. At several locations, cast acts the story captured by three cameras that transmit live for realtime editing and projection in the theater. The film was screened at Centro Cultural São Paulo, SESC Pompeia and CineSESC, between May 2009 to May 2010. Attached the last screenplays treatment, DVD with the version presented in CineSESC, and main reports in the media.

Death's Visage is a feature film that was created from an idea developed due to a personal relationship with an artist, who was a professional illustrator and painter. The film follows a young woman who becomes entrapped in a demonic sphere and time zone where her fear is the demon's gratification. She questions the events that are unfolding, which creates herpsychological turmoil, while taking place in the family home that is in an older established middle-class neighborhood. Death's Visage was a micro-budgeted film produced for $20,778. The capital needed for this film meets the University of Central Florida Feature Film Production program's microbudget requirements. This document will explore the utilization of space, diverse components, equipment, cross-trainable talent, and a detailed financial distribution.

La Buena Cosecha is a feature-length documentary that explores the remarkable contributions of Latino business owners in Orlando and the United States. The film delves into the journeys of two families of entrepreneurs from Colombia and Puerto Rico, as they navigate the competitive U.S. food market. Faced with numerous obstacles, they must persevere to fulfill their dreams, honor their Latino heritage, secure a legacy for their children, and make lasting contributions to the U.S. economy. La Buena Cosecha not only celebrates their positive impact but also challenges stereotypes about the Latino community, underscoring their incredible potential to shape the nation for the better. Directed by Melanie Cedeño-Lopez, La Buena Cosecha, has been produced as part of the requirements for earning a Master of Fine Arts in Feature Film Production from the University of Central Florida.

The following report details the process of writing the feature screenplay "Cheer Up, Charlie," from inspiration and conception through outline, first draft, and rewrite. I will examine these steps in order to better understand the creative decisions made between the birth of the idea and the current screenplay draft, and reconcile the differences. / text