Retrofitting measures in old buildings aimed at reducing energy consumption has become a widespread subject and an urgent matter to counteract the effects of climate change and GHGs emissions. The globe has reaffirmed its agreement taken in COP21 to reduce emissions in COP26. The building sector is one of the culprits with a 70 % future energy consumption forecasted by 2050 i.e., the year certain countries aim to carbon neutral (e.g., Sweden). An old building with a severe problem of energy leakage has been studied under the influence of multiple parameters such as building orientation, shading systems, location, Low-E film and an alternative energy supply (GHP). The original building’s EnU amounted to 194.5 kWh/m2•yr; the parameters were applied and orientation of 90⁰ worked best, if the building was being designed, contrary to this case. However, energy reductions, compared to the base model, were actually achieved with the application of Low-E (5%) films and when substituting the heating demand with a GHP (57.5%), LEF-GHP reached (59.2%) and a corresponding decrease in CO2 emissions. Thermal comfort was best achieved with models that had the highest energy consumption such as LEF and ES making it counterproductive in fulfilling the aim of reducing GHG footprint of Rådhuset. The economic feasibility study showed that the installation of a GHP with at least the COP of 4.0 would lead to a shorter payback period than solely applying LEF. A tailored solution of a change in the energy source such as electrified heat supply from renewables combined with LEFs would reduce the energy and emission impact of any building; this would help the building sector reach the envisioned goal of carbon neutrality in 2050.

The Last Two Years of David Brachman is a feature-length digital film directed, written and produced by Marcos Casilli in pursuit of the Master of Fine Arts in Film & Digital Media from the University of Central Florida. This is a very personal film that presents a sometimes-humorous approach to the following question: what makes life worth living? The film was made on what is categorized as a microbudget, but following the studio production model for the most part. This thesis presents a critique of that combination, advocating for a "slow cinema" model instead.

Bad Pixels is a feature-length, microbudget, digital motion picture, produced, written, and directed by Alexander Jon Bowser as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The materials contained herein serve as a record of the microbudget filmmaking experience. This thesis documents the challenges confronted by a first-time feature filmmaker; an evaluation of both the theory and application of a dynamic microbudget approach to digital content creation. From script development to digital distribution, the thesis aims to reflect on technical and procedural decisions made and assess their impact on the overall experience and final product.

This thesis documents my creative process as the Production Designer on the feature length micro budget film The Last Two Years of David Brachman, written and directed by Marc Casilli. The film is a dark comedy chronicling the life of David Brachman, a twenty-five year old with a stagnant life that is seemingly leading nowhere, as he pledges on his twenty-fifth birthday to change the path of his life in the next two years or commit suicide if he fails. The overall design concept of the film is rooted in realism, but allowed to contain elements that will remove the audience in order to lighten the load of the serious topic of death. With a nod to the 1950s family home and the nostalgia of decades past; David’s world is created to show drastic shifts from his inert, routine life at home to the outside working world in to which he thrusts himself. The world outside of David’s home is seen through a lens that exemplifies stereotypical social roles and thereby adds to his feelings of outcast and loneliness. Creating the versatile world of David Brachman presented challenges with the amount of locations, characters, and costumes changes; however, these challenges were further complicated by working on an overall micro budget of thirty-six thousand dollars, with approximately fifteen hundred dollars allocated to the art department and costuming. These challenges created a need for resourceful acquisition techniques and budgeting to ensure that the overall artistic vision was not sacrificed. Remaining true to the design aesthetic and the director’s vision, my staff and I were able to overcome budgetary challenges, staffing changes that occurred during filming, and shifts in the production dynamic that created a sometimes chaotic filming environment. The careful iv planning and organization of each design element and their execution ensured the successful creation of David’s world and a visual story to compliment the screenplay. Within this thesis I document my design process from my initial design proposal to the director through post production and final viewing of the completed film. Included here are specific details of my design process including script analysis, script breakdowns, location plots, budget tracking, stills from the film, a copy of the finished film, and all the paperwork generated in creating the film. A detailed journal of the filming process including obstacles I encountered as well as the solutions created throughout this process and a self evaluation and reflection on the final product of work are included.

Le but de ce travail a été de développer des cellules à base d’oxyde nanoporeux photosensibilisé sur support plastique. Dans ce contexte, une nouvelle voie d’élaboration de couches de nanoparticules d’oxyde à basse température a été développée par irradiation ultraviolet sous air. Tout d’abord, des couches de dioxyde de titane ont été préparées par cette méthode, les films obtenus étant constitués d’un réseau mésoporeux de nanoparticules interconnectées de dioxyde de titane de structure anatase d’après les caractérisations effectuées par microscopie électronique à balayage, diffraction des rayons X, porosimétrie d’adsorption d’azote et d’intrusion de mercure et analyse thermogravimétrique. Après sensibilisation des couches par un complexe polypyridyle de ruthénium, les cellules photovoltaïques élaborées avec des films en contact avec un électrolyte liquide présentent des rendements de conversion énergétique compris entre 1,6 et 2,5 % suivant la nature des particules utilisées. Cette voie a ensuite été élargie à d’autres oxydes tels que l’oxyde de zinc et le dioxyde d’étain ainsi qu’à des oxydes en configuration « cœur-écorce ». Les rendements obtenus avec le dioxyde d’étain, 1,5 à 1,8%, sont tout à fait remarquables par rapport à ceux décrits dans la bibliographie pour des couches traitées à haute température. Les rendements plus élevés avec les couches traitées aux UV étant liés à une amélioration des tensions de circuit ouvert et des facteurs de forme, les phénomènes physiques régissant les performances de ces dispositifs ont été étudiés par différentes techniques, notamment la spectroscopie d’impédance électrochimique et le déclin de tension de circuit ouvert. Enfin, les performances électrochromes des films de dioxyde de titane traités aux UV ont été caractérisées sur support verre et plastique en présence d’un électrolyte liquide ionique, les efficacités de coloration étant comparables aux systèmes élaborés à haute température. / This work aimed to develop dye-sensitized solar cells on plastic substrates. In this context, a new low-temperature method to make nanoporous oxide layers based on ultraviolet irradiation under air was studied. First of all, titanium dioxide layers were prepared with this method; the films obtained were composed of a mesoporous network of interconnected anatase titanium dioxide nanoparticles as evidenced by scanning electron microscopy, X-ray diffraction, nitrogen sorption and mercury porosimetries, and thermogravimetric analysis. After sensitizing the films with a ruthenium polypyridyl complex, the photovoltaic cells based on the films in contact with a liquid electrolyte gave conversion efficiencies between 1.6 and 2.5% depending on the nature of the particles used. This low-temperature method based on ultraviolet irradiation was then expanded to other oxides, such as zinc oxide and tin dioxide, as well as to core-shell structures. The conversion efficiencies obtained with tin dioxide were very high, i.e. 1.5 to 1.8%, compared to those usually reported in the literature for films sintered at high temperatures. The higher efficiencies obtained for the UV-treated films were related to higher open circuit potentials and higher fill factors. Therefore, the physical phenomena involved were investigated with various techniques; in particular, electrochemical impedance spectroscopy and open circuit voltage decay. Finally, the electrochromic performances of the low-temperature UV-processed nanoparticulate titanium dioxide films were studied on glass and plastic substrates with an ionic liquid. The coloration efficiencies were found to be comparable to those of high-temperature processed layers.

The Happiest Place on Earth is a feature-length film written, directed, and produced by John Goshorn as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The project aims to challenge existing conventions of the American fiction film on multiple levels – aesthetic, narrative, technical, and industrial – while dealing with a distinctly American subject and target audience. These challenges were both facilitated and necessitated by the limited resources available to the production team and the academic context of the production. This thesis is a record of the film, from concept to completion and preparation for delivery to an audience