The aim of this thesis is to explain activities of the production companies, producers and production managers. First part is dedicated to promotion of cinematography - comparison of foreign and czech point of view. The second part is divided into the pre-production, the shooting and the post production. The topic of pre-production is in following text discussed more in detail. There are described more demanding activities, for example creating the schedule and budget, finding an appropriate location or using of special software. The hypothesis described in the introduction was confirmed in conclusion - the producer's activity is essentially an activity of manager.

No description available.

Theodore Is Dying is a feature length film written and directed by Ryan Ceri Pomeranz. It was undertaken as a partial fulfillment of the requirements to receive a Master of Fine Arts in Film and Digital Media from the Department of Film in the College of Arts and Humanities at the University of Central Florida. The film aims to explore both the immediate and the long-term effects of choices made by four people at specific moments of demarcation in their lives. Structurally, the film is presented in an episodic and non- linear style that attempts to examine each protagonist’s own set of conflicts, while simultaneously exposing how the choices they make affect one another. The film’s production presented many unique challenges to our producing team, cast and crew such as shooting on location in Scranton, Pennsylvania, over one thousand miles from home and figuring out where to allocate funds from our “ultra-low” budget. These challenges were met head on and often times acted as catalysts for rethinking the way that films at our budget level could be produced. As a result, the following account of the making of Theodore Is Dying, from development through distribution, aims to contribute these ideas to the larger conversation about the role of Ultra-Low Budget Filmmaking in the modern filmmaking landscape

This report describes the inspiration, writing, development, pre-production, production, and post-production of the graduate thesis film Pō. / text

The report details the conceptual development, pre-production, production, and post-production stages of making Lost Nights. Lost Nights is a short, narrative film about two brothers who go out for one last night before the younger brother leaves for basic training. The film was produced as my graduate thesis film in the Department of Radio-Television-Film at the University of Texas at Austin. / text

Made available in DSpace on 2016-04-26T18:12:39Z (GMT). No. of bitstreams: 1 Luciane Salete Panisson.pdf: 73926653 bytes, checksum: 124e23d01817c76a44f199e5432306f0 (MD5) Previous issue date: 2012-12-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research approaches the building of an outfit as an individual creative process, which happens in a cultural environment that allows the consumer to become the author by matching products through their use. These different kinds of behavior are gaining strengths and influencing designers to rethink their creations, in favor of esthetics proposed by their users, fact that deserves deeper studies about its creation procedures. For this matter, the comprehension of the individual creational process inside culture occurs from the following questioning: How can the creative process of individuals be identified in the composition of their outfit from the perusal of their usage? What are the differences between the spectacle created by internet users and what actually is seen in the streets? The elucidation of this questioning aims to identify the composition procedures of an outfit as a process of creation in culture and, from this identification, discuss how the change in the communicative flow of who produces and who receives visual messages occurs. As specific objectives, this paper searches for the detection of creative resources which people use in the composition of their outfit and the development of a visual reading system that may assist this observation, elaborated from the concept of Networking Creation. The theoretical contribution which leads this study begins in the contextualization of fashion and style as social processes that allow the self-narratives (BARNARD, 2006; CRANE 2008; MIRANDA, 2008; ROCHE, 2007, SVENDSEN, 2010, MESQUITA, 2008), by cultural theoreticians who approach the changes in the roles of individuals from users to creators of visual messages through the use of products (CERTEAU, 1994 e LURIE, 1997), their transformation in intercultural beings (CANCLINI, 2003) inserted into the culture, but distinguished from it (COLAPIETRO, 1989) and that become creators (MORACE, 2009), finalizing with theories of Net Creation (SALLES, 2008) and Post-Production (BOURRIAUD, 2009) which will serve as base for the comprehension of the outfit composition as a creative process. Starting with images of this users-creators day by day in the streets and comparing them to images posted in the web by the users themselves, from 2010 to 2012, procedures of outfit construction that allow the intersection of creative resources used by distinguishes individuals and that, up a new and innovative creative process, reveal post-production strategies of the outfit and the image / A pesquisa aborda a montagem do traje como um processo criativo individual, advindo de um ambiente cultural que permite o consumidor se tranformar em autor ao recombinar produtos por meio de seu uso. Esses comportamentos estão ganhando força e influenciando designers a repensar suas criações, em prol de uma estética proposta pelo usuário e merecem estudos mais aprofundados sobre seus procedimentos de criação. Desta maneira, a compreensão do processo individual de criação dentro da cultura parte dos seguintes questionamentos: Como identificar o processo criativo dos indivíduos na composição de seu traje a partir da leitura de seu uso? Quais as diferenças entre o espetáculo criado pelo usuário da internet e o que efetivamente se observa nas ruas? A elucidação destes questionamentos, objetiva identificar os procedimentos de montagem do traje como um processo de criação na cultura e, a partir desta identificação, discutir como se dá a mudança do fluxo comunicativo de quem produz e recebe mensagens visuais. Como objetivos específicos, busca a detecção dos recursos criativos que as pessoas utilizam na composição de seus trajes e uma leitura visual que auxilie esta observação elaborado a partir dos conceitos de Criação em Rede e Pós-Produção. O aporte teórico que conduz o estudo inicia-se na contextualização da moda e do estilo como processos sociais que possibilitam as autonarrativas (BARNARD, 2006; CRANE 2008; MIRANDA, 2008; ROCHE, 2007, SVENDSEN, 2010, MESQUITA, 2008), por teóricos da cultura que abordam as mudanças de papel dos indivíduos, de usuários para criadores de mensagens visuais por meio do uso dos produtos (CERTEAU, 1994 e LURIE, 1997), sua transformação em sujeitos intercultuais (CANCLINI, 2003) inseridos em meio à cultura mas distinguíveis dela (COLAPIETRO, 1989) e que se transformam em autores (MORACE, 2009) finalizando pelas teorias de Criação em Rede (SALLES, 2008) e Pós-Produção (BOURRIAUD, 2009) que servirão de base para o entendimento da composição do traje como um processo criativo. Partindo da coleta de imagens destes usuarios-criadores no cotidiano das ruas e comparando-as com imagens postadas na internet pelos próprios usuários, de 2010 a 2012, observaram-se procedimentos de construção do traje que permitem um cruzamento entre os recursos criativos utilizados por indivíduos distintos e que acima de um processo criativo inédito ou inovador, revelam estratégias de pós-produção do traje e da imagem

<p>The aim of this thesis project is to create a user interface for a web based film production project management portal. This implies creating a site map and a functionality specification based on the needs of the people working in the film production industry. The project was made on account of The Chimney Pot, a post production company in Stockholm. For the scope of this project, the research was concentrated on the part of film production that concerns The Chimney Pot, i.e. the procedures that take place after a film has been recorded. The research also focused on people working in the area of Stockholm, even if their clients and customers in other areas of Sweden and abroad were indirectly included in order for the project portal to be a usable tool in projects where these people are involved. </p><p>Before any visible results can be seen in a web production project, a range of preparation steps needs to be taken. Planning is essential if the final product shall work properly. Extensive research has to be done into the industry. In order to make the product usable, the intended users, their requirements, work procedures and environment need to be examined. Only when there are substantial results and enough knowledge about the industry, the actual implementation can start. The first step is to make a functionality specification, next a site map should be produced and the technical architecture should be specified. These are the areas that are covered in this project, but there are also recommendations about how the further development should be made. Important aspects in the next phase are to create a budget, to put together a development team and to create a graphic user interface. In the whole process the issues of usability need to be considered, i.e. efficiency, flexibility, learnability and satisfaction. </p><p>The key requirements for the project portal turned out to be speed and effectiveness. The user interface was designed to be intuitive and to be shallow, which means that the user should be able to perform any task with the least amount of mouse clicks possible. Another intention with the produced user interface is for it to be clearly divided into the four main areas that could be extracted from the user requirements. They are planning, project details, communication and file sharing. Directly after logging on to the project portal, the user should get an overview of all these areas. Other important considerations were security, version control and seamlessness. These issues demand a thorough planning of the technical architecture and this thesis provides some useful tips for the further development of the technical specification.</p>

The aim of this thesis project is to create a user interface for a web based film production project management portal. This implies creating a site map and a functionality specification based on the needs of the people working in the film production industry. The project was made on account of The Chimney Pot, a post production company in Stockholm. For the scope of this project, the research was concentrated on the part of film production that concerns The Chimney Pot, i.e. the procedures that take place after a film has been recorded. The research also focused on people working in the area of Stockholm, even if their clients and customers in other areas of Sweden and abroad were indirectly included in order for the project portal to be a usable tool in projects where these people are involved. Before any visible results can be seen in a web production project, a range of preparation steps needs to be taken. Planning is essential if the final product shall work properly. Extensive research has to be done into the industry. In order to make the product usable, the intended users, their requirements, work procedures and environment need to be examined. Only when there are substantial results and enough knowledge about the industry, the actual implementation can start. The first step is to make a functionality specification, next a site map should be produced and the technical architecture should be specified. These are the areas that are covered in this project, but there are also recommendations about how the further development should be made. Important aspects in the next phase are to create a budget, to put together a development team and to create a graphic user interface. In the whole process the issues of usability need to be considered, i.e. efficiency, flexibility, learnability and satisfaction. The key requirements for the project portal turned out to be speed and effectiveness. The user interface was designed to be intuitive and to be shallow, which means that the user should be able to perform any task with the least amount of mouse clicks possible. Another intention with the produced user interface is for it to be clearly divided into the four main areas that could be extracted from the user requirements. They are planning, project details, communication and file sharing. Directly after logging on to the project portal, the user should get an overview of all these areas. Other important considerations were security, version control and seamlessness. These issues demand a thorough planning of the technical architecture and this thesis provides some useful tips for the further development of the technical specification.

I denna undersökning tar vi upp hur retorik och agensell realism har en påverkan när det gäller postproduktion, specifikt inom dokumentärarbete. Vi diskuterar ethos, logos och pathos, dess betydelse samt hur vi förhåller oss till retorik inom postproduktion.  I denna undersökningen tar vi även upp begreppet agentiell realism. Karen Barad är en forskare som pratar om vad agentiell realism är för något och vad de har för betydelse. I undersökningen pratar vi även om begreppet interaktioner som även de begreppet kommer från forskaren Barad (2003). De interaktioner som tillhör denna undersökning skedde till största del under den andra designfasen där vi intervjuade personer till dokumentären. Där vi interagera med den teknik vi valde att använda under projektets gång.  Designprocessen delas in i tre delar där vi går från idé till färdig gestaltning. Vi redogör för val som fattats, tekniker som använts, specifika delar tagna från relevant forskning samt de förändringar som vi tvingats åta. Resultatet presenterar i sin tur punkter vi anser vi åstadkommit och vad som framkommit utifrån undersökningen samt relationen till frågeställningen. I resultatet pratar vi även om hur vi anser att vi hållit den röda tråden från frågeställning till resultatet.    I diskussionsdelen pratar vi om de relevanta källorna och vad som kunnat gjorts annorlunda i denna undersökning. Vi diskuterar även de val vi valt att göra under de olika design faserna. Hur vi under undersökningens gång träffat på olika hinder som vi behövt arbetat rund oss för att få ett arbete vi kan känna oss nöjda med. / This thesis brings up how rhetoric and agency realism has an impact on documentary post production. We discuss ethos, logos and pathos, its importance and how we relate to the rhetoric of post production.  In this text we will also bring up notion agency realism. Karen Barad is a scientist that talks about agency realism and what meaning it brings. We will also talk about interactions and that notion is also from Barad (2003). The interactions that happened were mostly in the design phase when we interviewed some people for the documentary. We also had interaction with the technique that we used through the projekt.  The design process is divided into three parts where we go from idea to finished design. We describe our choices that we made, techniques we used, specific parts taken from relevant research and the changes we were forced to commit. The results, in turn, present points we feel we have achieved and what has emerged from the survey as well as the relation to the framing of a question. In the result we also talk about how we think we kept the red thread from question to result.   In the discussion section we talk about the relevant sources and what could have been done differently in this study. We also discuss the choices we chose to make during the various design phases. How during the course of the investigation we encountered various obstacles that we needed to work around to get a job we can feel satisfied with.

Denna studie undersöker med hjälp av en fallstudie hos två filmproduktionsbolag, King Edward och Cinematik hur co-design som metod hade kunnat användas inom postproduktionsprocessen av reklamfilm. Med en teoretisk djupdykning i filmproduktionens fyra processer; förproduktion, produktion, postproduktion, distribution och metoden co-design har det legat som grund för undersökningen. Även teori kring filmens historia och reklamfilm har undersökts för att ge en bättre grund och tyngd till resultatet.Med kvalitativa intervjuer på båda företagen har information samlats in kring hur deras arbetsprocess ser ut och vad deras tidigare kunskap kring co-design var och om de själva hade ansett att det hade varit användbart. Genom en jämförelse av den insamlade teorin och resultatet från företagen har en prototyp skapats som visar vart i en postproduktionsprocess inom reklamfilm som implementering av co-design hade varit möjligt. Det sammansatta resultatet visar att co-design som det används inom produktdesign inte hade varit möjligt inom film, men att vissa delar av metoden, nämligen att låta kunden vara med tidigt i postproduktionsprocessen och dela med sig av sina erfarenheter beroende på vilken kund reklamen riktas åt hade varit möjligt att implementera. Genom att ha kunden med i det tidiga skedet av postproduktionen hos produktionsbolag hade färre revideringar gjorts i processen och färre möten med kund som tvingat fram ändringar i filmerna hade undvikits. / This thesis explores through a case study with two film production firms, King Edward and Cinematik how co-design as a method would be applicable in post-production of commercials. With a theoretical deep dive into the film production’s four phases; pre-production, production, post production, distribution and the method of co-design it has been the foundation of this thesis. Further information has been gathered for film history and commercials to give a better understanding and weight for the analysis. By doing qualitative interviews on both firms, information has been gathered regarding their production process, and their previous knowledge of co-design and if they themselves believe that it would be a useful method. By comparing the gathered theory with the results from the interviews, a prototype has been created showing where in a post-production process, in commercials, co-design as a method could be implemented. The combined result proves that the way co-design is used in production design would not be viable in film production, but that some parts of the method could be implemented depending on the client and the commercial, for example if the client has specific experiences needed for the film. By having the client be a part of the early stages of the post production process at a film production firm, less revisions would be needed and less meetings would be needed for fixes.