The purpose of the study is to contribute knowledge about preschool-children´s behavior as consumers and producers of image through digital tools. The study is about the older preschool-children based on three different observations that are investigated with the help of video-observation. The various parts of the observations are children as consumers, children as producers and at the end a feedback is made together with the children. In the first observation the preschooler’s knowledge and understanding of manipulated images are examined. The second observation is about the children´s actions as producers by creating their own manipulated films with the help of Green Screen. The third observation is a reflection that is done with the children. The result shows that the children lacks knowledge and understanding of manipulated image. The children often choose to commute between fantasy and reality. It also turns out that children do not review images and films in the same way that adults do. The study shows that the children choose to act as producers instead of consumers in cooperation with the digital tools. The study also makes visible that the digital tool is seen as familiar to the children and they show digital competence during the time they produce using the tablet. The study is based on the sociocultural perspective where language is seen as an important component of all the study´s observations. / Syftet med studien är att bidra med kunskap om förskolebarns agerande som konsumenter och producenter av bild genom digitala verktyg. Studien handlar om de äldre förskolebarnen och bygger på tre olika observationstillfällen som undersöks med hjälp av videoobservation. De olika observationstillfällena handlar om barn som konsumenter, barn som producenter och till sist görs en återkoppling tillsammans med barnen. I observationstillfälle 1 undersöks förskolebarns kunskap och förståelse för manipulerade bilder. Observationstillfälle 2 handlar om barnens agerande som producenter genom att skapa egna manipulerade filmer med hjälp av Green Screen. Observationstillfälle 3 är en reflektion som görs tillsammans med barnen. Resultatet visar på att barnen saknar kunskap och förståelse gällande manipulerade bilder. Barnen väljer ofta att pendla mellan fantasi och verklighet. Det visar sig även att barnen inte granskar bilder och filmer på samma sätt som vuxna gör. I studien synliggörs att barnen ofta väljer att agera som producenter istället för konsumenter i samverkan med lärplattan. Resultatet lyfter även att lärplattan är ett bekant verktyg för barnen, och det visar sig att de besitter digital kompetens. Studien utgår ifrån det sociokulturella perspektivet där språket ses vara en viktig komponent för studiens samtliga observationstillfällen.

This thesis chronicles the progression toward and creation of my thesis show, Limelight & Indigestion, as well as the cultural, technological and artistic influences and discussions that underpin the works therein. The show is an exploration of celebrity, mass media, and the nature of the desire for fame. I hope to situate my work through an investigation of topics such as Hollywood and the use of green screens and associated technology, our physical and ideological connection to cinema, the absurd in cinema history, and the complex nature of media digestion.

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.

This report summarizes the process of writing, developing, directing and completing the short film In This Place. This film was produced as my graduate thesis film in the Department of Radio-Television-Film at the University of Texas at Austin in partial fulfillment of my Master of Fine Arts in Film Production degree. / text

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With the advent of the blockbuster and its visual effects, film has grown to accept these effects and the technology behind them, namely green screen mattes, as cornerstones to the post-production process. The propensity of green screen in all types of productions, especially those involving actors and their performances, raises questions about the methodology and workflow behind its common practice. Using real-life environments and people to create narrative scenes, this project explores the utilization of matte backgrounds to inform the rehearsal and performance aspects of cinematic story-telling.

The execution of this thesis was based on one primare question and threesecondary questions: Primary question at issue: Is it possible to develop a system to previsualize computer generatedgraphics in real-time on a film set with available equipment on theuniversity? Secondary questions at issue: Is it possible to sync the camera feed with the motions of the HTC Vive to getan acceptable result in the game engine with existing equipment? Will the result be able to be integrated with the Computer Graphicsprogramme at LTU? How much access to control and manipulate the previsualized computergenerated graphics, while filming can be achieved? The purpose of this report is to try a method with the available equipment, toproduce a prototype of a tool to previsualize computer generated graphics inreal-time. The equipment used for the method was a computer, web camera, HTC Vive anda green screen. All the equipment was linked together with the game engineUnity. This resulted in a prototype of a tool that in real-time can mimic themotions of the camera, replace colored background and has the feature of realtimescene editing, as the previsualization runs. / Utförandet av detta examensarbete baserades på en primär frågeställning, samttre ytterligare sekundära frågor: Primär frågeställning: Kan man med hjälp av befintlig utrustning på universitetet ta fram enmodell för att previsualisera datorgenererad grafik i real-tid vid en inspelning? Sekundära frågeställningar: Kommer det gå att synka bild från webcamera med fångade rörelser frånHTC Vive och få ett godtagbart resultat från spelmotorn med befintligutrustning? Kan man använda resultatet som ett verktyg för utbildningen Datorgrafikpå LTU? Hur mycket kontroll för den förhandsvisade grafiken går att uppnå i realtid? Syftet med rapporten är att framställa och bepröva en prototyp av en produkt föratt kunna förhandsvisa datorgenererad grafik i real-tid, med befintlig utrustning. Metoden utövades med en dator, web kamera, HTC Vive och en green screen.Genom att använda spelmotorn Unity knöts utrustningen samman för attresultera i en prototyp som i real-tid fångar kamerans rörelser, ersätter färgadbakgrund och kan manipuleras direkt vid inspelning.

When portraying a character in a fictional world the actor is faced with many challenges. To circumvent these challenges, he must become congruent with the reality of the fictional world. In order to do so, the actor has to ‘believe’ in the circumstances of the unfolding scene and live ‘in the moment’. These external circumstances act as stimuli which the actor uses to create and consequently ‘believe’ in the environment that the character inhabits. However, the use of green screen technology in special effects limits or eliminates these stimuli and the external circumstances. Green screen is a technique used in film and television that allows the filmmaker to film an actor in combination with a green screen and then replace the ‘green’ with anything the filmmaker requires. This allows for compositing to occur and the filmed reality to be manipulated. However, this technology challenges the actor’s ‘belief’ and behaviour, thus affecting congruence with and the (photo)realism of the created fictional world. In a green screen environment the actor is challenged to imagine, experience and act in line with the circumstances of the fictional world that will replace the green screen, instead of the green environment in which he finds himself. One acting strategy that elicits imagination, action and feeling is Stanislavsky’s notion of the magic if. Accordingly, this dissertation proposes that this strategy can assist the actor in circumventing the challenges that arise when working with green screen technology. Stanislavsky developed his acting principles by observing human behaviour in an attempt to use the mind–body paradigm in circumnavigating the acting moment. The field of cognitive neuroscience has also investigated human behaviour and the mind–body paradigm and recent discoveries have increased understanding of the fields. These discoveries have validated the notion of the magic if and the components it incorporates. Yet, the discoveries surrounding the notion of the magic if and, subsequently, the increased understanding of the concept have not to date been applied to acting with green screen technology. It is therefore hypothesised that, by triangulating the challenges of ‘green screen acting’, the principles of the magic if and the knowledge gained from cognitive neuroscience, an acting strategy can be developed that will assist the actor in the green screen environment and thus create verisimilitude with the fictional world. This hypothesis has led to the theoretical development of explorations that will strengthen the skills the actor needs in order to apply the notion of the magic if; as well as an acting strategy to assist the actor when entering the green screen environment. / Dissertation (MA)--University of Pretoria, 2013. / gm2014 / Drama / Unrestricted

Syftet med studien är att öka kunskapen om barn förmåga i olika åldrar att använda Green Screen. Studien undersöker barns förmåga till kritiskt förhållningssätt under en aktivitet där det digitala lärverktyget Green Screen används.Våra erfarenheter kring förskolors användande av Green Screen skiljer sig åt och därför ville vi undersöka området. Vi genomförde en deltagande observation som filmades i två aktiviteter med Green Screen, en med tvååringar och en med fyraåringar. Undersökningen gjordes på en förskola i medelstor kommun i Sverige. Insamlade data analyserades multimodalt med tematisk analysmetod utifrån Jean Piagets utvecklingsteori, lekteori och jämviktsteori. Resultatet visar att barn i två- respektive fyraårsåldern agerar olika i aktivitet med Green Screen. Tvååringarna upptäcker tekniken mer kroppsligt medan fyraåringarna använde tekniken som ett verktyg i leken vilket kunde antyda att fyraåringarnas kritiska förhållningssätt var mer utvecklat. Det finns begränsat med forskning inom Green Screen i förskolan, därför anser vi att den här studien kan bidra med att ämnet uppmärksammas så att vidare studier kan göras. / The aim of the study is to increase knowledge about childrens ability in different ages to use Green Screen. The study examines children's ability to take a critical approach during an activity where the digital learning tool Green Screen is used. Our experiences of preschools' use of Green Screen differ and therefore we wanted to investigate the area. We conducted a participant observation that was filmed in two activities with Green Screen, one with two-year-olds and one with four-year-olds. The study was conducted at a preschool in a medium-sized municipality in Sweden. The collected data were analyzed multimodally using the thematic analysis method based on Jean Piaget's theory of cognitive development, play and equilibrium. The results show that children aged two and four respectively act differently in activity with Green Screen. The two-year-olds discover the technology physically while the four-year-olds used the technology as a tool in play, which could suggest that the four-year-olds’ critical approach was more developed. There is limited research on Green Screen in preschool, therefore we believe that this study can contribute to the subject being noticed so that further studies can be done.

Definované markery tvoří základ určování polohy kamery pro velké množství aplikací s rozšířenou realitou, v případě že jsou přísné požadavky na rychlost a robustnost. Tato práce popisuje účinnou metodu pro určení pózy kamery pomocí Uniformního pole markerů a několik realistických aplikací na bázi popsané metody. Metoda je velice výpočetně levná a poskytuje spolehlivou detekci pro několik výpočetních platforem, včetně běžných chytrých telefonů. Markery jako část zobrazené informace na monitorech jsou použité v této práci pro určení relativní orientaci mezi poskytovatelem obsahu a užívatelským zařízením, sloužícím pro výběr prvků užívatelského rozhraní při  interakci a migraci úkolů. Ve filmařském průmyslu poskytuje popsaná metoda pro zjištění polohy kamery jako součást klíčovaní pozadí filmářům živý náhled virtuální scény. Výsledky ukazují, že popsaná metoda pro detekci pole markerů má srovnatelnou úspěšnost a přesnost v porovnání s ostatními metodami na bázi markerů a je několikrát rýchlejší. Aplikace zahrnuté v této práci podle výsledků testů jsou životaschopné - rychlejší a levnější - alternativy k existujícím řešením.