Les taches de couleur au sol ont toujours existé dans l’atelier. Je ne sais comment, subitement, un jour, je lesai vues, non pas comme une saleté «pittoresque», mais comme de la peinture, une peinture sur le sol, desprolongations du tableau en dehors de ses limites. J’ai photographié ces taches de peinture comme d’autresphénomènes périphériques au tableau. La pratique photographique à l’atelier a généré des documents quiincarnaient un regard sur la peinture en train de se faire. Je pense aujourd’hui que cette activité photographiquea largement contribué à une prise de conscience de mon travail en peinture et de ce qu’il est devenu par lasuite. L’enregistrement photographique des oeuvres fait partie de ce que l’on pourrait appeler la production dedocuments pour l’archive. Ces images sont destinées à la préservation d’une mémoire, à la création de dossiersou bien à l’illustration de sites Internet ou de publications.J’ai constaté chez d’autres peintres de ma génération, que le passage au numérique a non seulement développéle travailde postproduction directement lié à l’enregistrement des oeuvres -le plus souvent assumé par l’artistelui-même-, mais qu’il a aussi facilité une activité photographique parallèle que certains artistes assimilent à dela notation ou du croquis. Photographier son propre travail implique de donner à voir, en même temps queles oeuvres, le regard que nous portons sur elles. Mais la plupart du temps, ces images sont des documents.Le devenir-oeuvre de l’archive tient à une opération par laquelle, d’après Olivier Corpet, l’archive évite à l’oeuvrede se renfermer sur elle-même, de se dégrader, voire de se perdre: l’archive peut alors lui sauver la mise, laremettre en mouvement / Stains of color on the floor have always existed in the studio. I do not know how, suddenly, one day, I saw them, not as“picturesque” mess but as painting; a painting on the floor; extensions of the painting beyond its edges. I photographedthese paint stains like other phenomena peripheral to the painting. Photographic practice in the studio generateddocuments that incarnated a way of looking at the painting being made. Today, I think that this photographicactivity greatly contributed to an emerging awareness of my work in painting and what it became thereafter.Recording artworks in photographs is part of what we could call the production of documents for archives.These images are destined to preserve a memory, create files or illustrate websites or publications.I have observed among other painters of my generation that the change to digital not only developed postproductionwork directly linked to recording artworks – most often done by the artist him/herself – but alsofacilitated a parallel photographic activity that certain artists see as similar to note taking or sketching.Photographing one’s own work involves showing both the artwork and the way we look at it. But most often,these images are documents. The archival image becomes artwork in an operation by which, according to OlivierCorpet, the archive prevents the artwork closing in on itself, from degrading itself, or even becoming lost:the archive can thus save it and put it back in motion

I följande studie utforskas egna olika skapandeprocesser och problematiseras genom att sex stycken redan befintliga grundarrangemang efterproduceras genom två olika arbetssätt. Arbetssätten används för att kunna undersöka hur plugins gynnar skapandeprocessen på olika sätt. Olika skillnader, fördelar och nackdelar med dessa två arbetssätt undersöks, samt hur de två arbetssätten påverkar de olika skapandeprocesserna och slutproduktionernas färdiga resultat. Resultatet visar att de främsta skillnaderna inte finns i produktionernas totala kvalitet, utan att de istället finns inom de olika arbetssättens skapandeprocesser avseende effektivitet och inspiration. En slutsats är att det ena arbetssättet bidrar till ökad inspiration, men däremot att detta sätt inte alltid har varit lika effektivt i skapandeprocessen som det andra arbetssättet.

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.

Main topic of this thesis is description of sound post production in advertising and in the film film industry and making case study of company Studio Beep s.r.o. First aim of this thesis is describe as clearly as possible the theory of sound and sound post production in advertising and in film industry and also show specifics accompanying production of sound in each discipline. The theoretical part contains basic overview about history of sound, sound dramaturgy and about general principles of sound post production. Second aim is practical description of this issue on specific advertising and film projects, which were realized in Studio Beep s.r.o. Practical description helps us with understanding whole issue and with complementing the theoretical part.

Leaves on Trees is a 16-minute narrative film about a young boy who gets prescription glasses for the first time. The following report recounts the process of conception, pre-production, production, and post-production undertaken to produce the film. It discusses the hardships and successes of the project and posits a goal for the future. / text

The report details the development, pre-production, production, and post-production stages of Plus/Minus. Plus/Minus is a short, narrative film about about a young couple examining their relationship as they await the result of a pregnancy test. / text

Lo-Fi vem de Low Fidelity, que em inglês significa baixa fidelidade. Na música, se transformou em linguagem sonora a partir da década de 1970, quando alguns artistas, buscando soluções econômicas para a autoprodução e independência em relação às gravadoras, passaram a utilizar gravadores caseiros para fazer seus próprios registros. A partir desse ato de libertação e experimentação, se obteve, por transbordamento, uma sonoridade ruidosa, crua, de baixa fidelidade de gravação. Mas, ao mesmo tempo, o ruído produzido por essa produção marginal engendrou cruzamentos autênticos e espontâneos que logo formaram uma paisagem sonora de grande vitalidade. De forma contrária, o Hi-fi, ou High-Fidelity, busca na alta-fidelidade a idealização e a perfeição do seu produto final que, uma vez ligado à indústria fonográfica e à alta tecnologia, tende a ser direcionado pelas lógicas do mercado. Pensado e produzido como objeto-fim, o fazer arquitetural contemporâneo vem se aproximando da gravação hi-fi: delimitado, ordenado por estratos, classificações e tipos que a definem como objeto-produto. Nessa lógica, a arquitetura torna-se imagem, espetáculo pronto para o consumo e descarte. Propõe-se, neste trabalho, uma inflexão, um deslocamento do pensar arquitetural a partir da aproximação metafórica acionada pelo modo lo-fi . / Lo-Fi is the acronym that stands for Low Fidelity. In the music industry, during the70’s it became a trendy language when artists, searching economical solutions for self-production and independence from record companies, using homemade devices for sound recording. Following this first experiment of liberation, was obtained a noisy overflowing sonority, raw, or as it became known, low fidelity of the recording. However, at the same time the noise produced by this marginal production created an authentic and spontaneous blend that soon formed a vivid sound scene. Contrariwise the Hi-fi, or High Fidelity, seeks the idealization of perfection as its final product which, once merged to the phonographic industry and the high technology, tends to be driven by the logic of the market. Thought and produced as a final product, contemporary architecture follows the steps of the hi-fi recording: delimited, ordered in layers, classifications and by stereotypes that define it as an object-product. In this logic, architecture becomes an image, a spectacle ready for consumption and disposal. This work proposes an inflexion, a displacement on the architectural thinking from the metaphorical approach triggered by the lo-fi mode. Flaws by noise, by experimentation, by the potency of invention leads to a turning point in the making process, broader, returning to the idea of the unfinished, unexpectedly, guiding into a process that its meaning is not in the final product, but rather in the path itself, in the desire for transformation, in the unknown. Reflecting about the process as lo-fi music evokes is returning to the initial sketch, it is decomposing and questioning its nature, it is exposing the traces. It is bringing back the architecture in the sense of discovery, as a body in experimentation, as the surprise that reveals the unforeseen crossing of distinct times. The intention here is, based from speculative narratives, to try the deconstruct of some consolidated practices on the design process catalyzed by the music action. Pointing analogous approximations and representations of other architectural assemblies that are not represented by the narratives determined and exhausted by the logic of the market.

Les taches de couleur au sol ont toujours existé dans l'atelier. Je ne sais comment, subitement, un jour, je lesai vues, non pas comme une saleté "pittoresque", mais comme de la peinture, une peinture sur le sol, desprolongations du tableau en dehors de ses limites. J'ai photographié ces taches de peinture comme d'autresphénomènes périphériques au tableau. La pratique photographique à l'atelier a généré des documents quiincarnaient un regard sur la peinture en train de se faire. Je pense aujourd'hui que cette activité photographiquea largement contribué à une prise de conscience de mon travail en peinture et de ce qu'il est devenu par lasuite. L'enregistrement photographique des oeuvres fait partie de ce que l'on pourrait appeler la production dedocuments pour l'archive. Ces images sont destinées à la préservation d'une mémoire, à la création de dossiersou bien à l'illustration de sites Internet ou de publications.J'ai constaté chez d'autres peintres de ma génération, que le passage au numérique a non seulement développéle travailde postproduction directement lié à l'enregistrement des oeuvres -le plus souvent assumé par l'artistelui-même-, mais qu'il a aussi facilité une activité photographique parallèle que certains artistes assimilent à dela notation ou du croquis. Photographier son propre travail implique de donner à voir, en même temps queles oeuvres, le regard que nous portons sur elles. Mais la plupart du temps, ces images sont des documents.Le devenir-oeuvre de l'archive tient à une opération par laquelle, d'après Olivier Corpet, l'archive évite à l'oeuvrede se renfermer sur elle-même, de se dégrader, voire de se perdre: l'archive peut alors lui sauver la mise, laremettre en mouvement

The transportation of heavy oil is a pressing problem. Various methods have been devised to mitigate the reluctance to flow of these highly dense and viscous oils. This study is focused on evaluating a case for post-production partial upgrading of heavy oil. Specifically, we analyze the impact of visbreaking, a mild thermal cracking method, on the economic and energy demands of the post-production process. Using conservative modeling techniques and principles we find significant cost and energy savings can potentially result out of visbreaking. Cost savings result as a consequence of reduced diluent usage. Even the most conservative modeling scenario under consideration exhibits significant cost savings in the form of reduced diluent usage; these savings not only offset operational costs but provide short payback periods on capital expenditures. Additionally, the lower gravity blend resulting from visbreaking can also bring about energy and cost savings in pipeline transportation and positively impact the heavy oil value chain from the producer to a refinery or regional upgrading facility. From this basic analysis of the potential of visbreaking, we can recommend investing resources to study its viability in the field. Using this analysis as a tipping off point and with a detailed look at the chemistry of the oil in question it is possible to make a very viable case for visbreaking. In a similar vein, this analysis can serve as a guide in making a case for other partial upgrading methods as well.

This study is aimed at understanding and comparing the organizational management system and performance among the TV center of Republic Of China's armed forces, and collects info of the multi-media units of the USAF and educational program production unit of the Open University of Kaohsiung to get a picture of the current status of those organizations pertaining to multi-media program production, and serves as a reference for the future development of the TV centers of ROC's armed forces. The research approach used there is characteristic-oriented. TV centers of the Army, Navy, and Air Force are the study objects. Through interview with members of each service's TV center and the Open Universality of Kaohsiung to gain more detail information to be used as reference. From the result to understand the organization, manpower, equipment investment, production quantities and contents, then further the study on those multi-media units of USAF and the Open Universality of Kaohsiung to induce two discussion topics:merging and outsourcing. The first issue is to discuss whether it's practicable for merging the TV centers of the services. The second issue is to find whether it's feasible for the programs to be outsourced. Finally I'd like to bring up the limitation, contribution and suggestion of this study.