Thesis (M. Tech.) -- Central University of Technology, Free State, 2009 / Contradictory results are reported regarding the value of external representations such as dynamic and static visuals in a learning environment (Lowe 1999; Hanzen, Narayanan & Hegarty 2002; Weiss, Knowlton and Morrison 2002; Bodemar, Ploetzner, Feuerlein & Spada 2004; Bodemar & Ploetzner 2004; Moreno & Valdez 2005; Höffler & Loetner 2007). Some of the recent findings indicate little or no significant differences between static and dynamic visuals. This study looks at studies that used a variety of external representations to facilitate different learning tasks. A ―two journal article‖ format was adopted for Chapter 2 and 3 respectively. The first article, i.e. Chapter 2, is a review of the literature and provides a theoretical background to the research topic. Chapter 2 reviews theories and empirical studies regarding learning with text, dynamic and static visuals, and examines the conditions under which external representations facilitate learning. Subjects‘ prior knowledge, the content of the instructional material and the testing method are but some of the variables that can determine if graphic medium can increase a subject‘s comprehension and if such comprehension can be accurately measured. Chapter 2 also presents a model that suggests how dynamic and static visuals can be used in a learning environment. The second article, i.e. Chapter 3, presents an animation for a specific learning task in order to test the hypothesis that this external representation may improve the comprehension of a linear scientific process. Tertiary students (N = 61) participated in a pre-test and post-test experimental study during which they were exposed to 4 treatment variables: text (T), video and text (VT), illustration and text (IT), and animation and text (AT). It was hypothesised that the group who received the animation and text treatment would comprehend the linear process better than the control group (text only) and the other two groups (text and illustration; text and video). The question that was asked to explore this comparison therefore was: Can animation be used to improve comprehension of instructional text? The results indicate that no significant differences in achievement existed among the treatment groups. The results of the study show that dynamic visuals with text can have essentially the same effect on students' understanding of a particular process as static visual with text. It is further acknowledged that the subjects‘ prior knowledge, the content of the instructional material and the testing method are but some of the variables that can determine if an external representation can increase a subject‘s comprehension and if such comprehension can be accurately measured.

電影是門用畫面說故事的藝術，除了劇情上的編排，導演也必須思考如何運用鏡頭配置和運鏡技巧來渲染氣氛並傳達故事。電影拍攝製作上一直都是件費時費力的工程，儘管現在有不少電影後製工具，但專注在根據電影內容提升或改善拍攝手法的工具卻不多。本研究目標為開發智慧型電腦動畫攝影編輯輔助系統及互動操作平台，透過圖示化攝影機拍攝的結果作為選項的介面和推薦系統，讓使用者可以快速簡單的設置虛擬攝影機，配合智慧型回饋提醒系統檢查各鏡頭間是否違反拍攝規則，以達到輔助攝影初學者的目的，提供創新有效的動畫電影拍攝輔助工具。我們透過實驗讓不同攝影背景經驗的使用者操作，以驗證我們系統的可用性。 / Movie is the art of "storytelling." In addition to arranging story elements in a movie, a di-rector must also consider how to present the story by shots arrangement and operations. Filmmaking is a time-consuming process. Although there are many post-production tools available in the market, it is rare to find a tool focusing on facilitating shot arrangement to improve the quality of a movie. In this work, we have developed an intelligent camera editing system for computer animation, in which users can easily set up virtual cameras through se-lecting shot icons recommended by the system. It can also provide intelligent feedbacks to novice users and check if the shots selected by the users violate the rules in virtual cinema-tography. In order to show that the system is an innovative and effective tool for making an animation film, we have conducted an evaluation study by inviting participants with different photographic backgrounds to experience the system and verify the usability of our system.

The submitted diploma thesis is engaged in working of the film industry in Czechoslovakia in period among two world wars, which is seen through the important actor, scriptwriter, director and film entrepreneur Karel Lamač. The issue is researched especially from the perspective of formation and activity of the film companies which were professional associated with the person of Lamač. It is followed up the family background which he came from, and the milieu where he worked the First World War. It further focuses on Lamač's first steps in the field of cinematography after 1918 and on his working at the time of the First Czechoslovak Republic. It is also reflected Lamač's activity as an inventor and a journalistic author, as well as related financial profit from the subsequent sale of patents or licences to the created movies. The thesis tries to clear up the mechanisms that led to exceptional position of this artist in the Czechoslovak film industry, with regard to his professional outreach to the international sphere. The study also devotes to Lamač's most significant projects and co-workers in the field of cinematography in order to refer the extent to which he contributed to the popularity of contemporary film-stars. The treatise of the most important life divides of creator after his final...

[pt] A geração de representações visuais envolventes para storytelling interativo é um dos desafios-chave para a evolução e popularização das narrativas interativas. Usualmente, sistemas de storytelling interativo utilizam computação gráfica para representar os mundos virtuais das histórias, o que facilita a geração dinâmica de conteúdos visuais. Embora animação tridimensional seja um poderoso meio para contar histórias, filmes com atores reais continuam atraindo mais atenção do público em geral. Além disso, apesar dos recentes progressos em renderização gráfica e da ampla aceitação de animação 3D em filmes, a qualidade visual do vídeo continua sendo muito superior aos gráficos gerados computacionalmente em tempo real. Na presente tese propomos uma nova abordagem para criar narrativas interativas mais envolventes, denominada Storytelling Interativo Baseado em Vídeo, onde os personagens e ambientes virtuais são substituídos por atores e cenários reais, sem perder a estrutura lógica da narrativa. Este trabalho apresenta um modelo geral para sistemas de storytelling interativo baseados em vídeo, incluindo os aspectos autorais das fases de produção e os aspectos técnicos dos algoritmos responsáveis pela geração em tempo real de narrativas interativas usando técnicas de composição de vídeo. / [en] The generation of engaging visual representations for interactive storytelling represents a key challenge for the evolution and popularization of interactive narratives. Usually, interactive storytelling systems adopt computer graphics to represent the virtual story worlds, which facilitates the dynamic generation of visual content. Although animation is a powerful storytelling medium, live-action films still attract more attention from the general public. In addition, despite the recent progress in graphics rendering and the wide-scale acceptance of 3D animation in films, the visual quality of video is still far superior to that of real-time generated computer graphics. In the present thesis, we propose a new approach to create more engaging interactive narratives, denominated Video-Based Interactive Storytelling, where characters and virtual environments are replaced by real actors and settings, without losing the logical structure of the narrative. This work presents a general model for interactive storytelling systems that are based on video, including the authorial aspects of the production phases, and the technical aspects of the algorithms responsible for the real-time generation of interactive narratives using video compositing techniques.

[pt] Esta tese aponta as convergências que se estabelecem entre Cinema e Design na concepção e construção do projeto visual cinematográfico. Postula que o Design, na sua essência, é uma forma de abordagem conceitual, que perpassa, como uma visão de mundo, várias instâncias da vida do indivíduo e da sociedade. Na contemporaneidade, a noção de Design vem se expandindo, abarcando outras áreas e interconectando-se com outros campos teóricos e práticos em relações de trocas, superposições e fusões. Neste cenário são apontadas as confluências entre este campo de atividade e saber, considerado na sua forma mais ampla, e as especificidades do processo que leva à elaboração do conjunto das imagens cinematográficas. O estabelecimento desse vínculo entre o Cinema e o Design está alicerçado por uma fundamentação teórica e consolidado por uma pesquisa com os agentes-autores que traduzem a ideia inicial de um filme em imagens. A pesquisa aqui relatada investigou a abordagem, os procedimentos, as fontes e as reflexões implicados na concepção do conjunto de signos visuais no cinema, a partir dos depoimentos dos criadores desse projeto imagético, visando esclarecer os complexos mecanismos envolvidos nesse processo. Na conclusão, as convergências apontadas não só ficam evidentes, como vêm contribuir com o desenvolvimento das noções de inclusão e abrangência, vocação primeva do Design. / [en] This thesis points out the convergences between cinema and design among the conception of a visual project in the movies. It claims, at first, that design proposes basically a conceptual approach, which permeates, as a world view, multiple instances in the life of individuals and society. Furthermore, remarks that the notion of design is expanding in contemporary times, in order to embrace other areas and interconnect with a great number of theoretical and practical fields. These connections occur within a wide range of relations established by exchange, overlay and merge. The confluences between design, a field considered here in its broader form, and the particular process that engenders the development of the images in cinema are highlighted by this approach. The linkage between film and design is founded on theoretical statements and consolidated by a research, carried out with those authors who translate the initial idea of a movie into pictures. This search meant to investigate the approach, the considerations and the procedures of these authors, as well as the image sources implied in the process of designing the combination of visual signs in cinema. This investigation is based on the visual designers testimony, aiming to clarify the complex mechanisms involved in this process. Concluding the thesis, the former pointed convergences are not only shown evidently, as they also contribute to enlarge the notions of inclusion and breadth, representing the original nature of design. / [fr] Cette thèse fait remarquer les convergences qui s’établissent entre le cinéma et le design dans la conception et la construction du projet visuel d’un film. En outre on postule que le design est, en substance, une forme d’approche conceptuelle qui imprègne, comme une vision du monde, plusieurs instances de la vie de l’individu et de la societé. On remarque aussi que à l’époque contemporaine, la notion de design est en expansion, couvrant d’autres domaines, établissant des interconnexions avec d’autres domianes théoriques et pratiques, à travers de relations d’échange, de superposition et de fusion. Dans cette approche sont soulignées les confluences entre ce domaine d’activité et de savoir, consideré dans sa forme la plus large, ainsi que les spécificités du processus que méne à l’élaboration des images cinématographiques. L’établissement du lien entre cinéma et design est fondé sur une base théorique et consolidé par une enquête avec les auteurs-agents qui traduisent l’idée d’un film en images. La recherche rapportée ici concerne l’approche, les procédures, les sources et les réflexions impliquées dans la conception des signes visuels au cinéma, à partir des témoignages des créateurs du projet d’imagerie, visant à clarifier les mecanismes complexes impliqués dans ce processus. En conclusion, ces ressamblances restent non seulement évidentes, mais contribuent aussi à l’élaboration des notions d’inclusion et d’ampleur qui participent de la nature essentielle du design. / [es] Esta tesis puntea las convergencias que existen entre el cine y el diseño en el desarrollo y la construcción del proyecto visual del film. Postula que el diseño es, en esencia, una forma de acercamiento conceptual que impregna, como una visión del mundo, varias instancias de la vida del individuo y de la sociedad. En la época contemporánea, el concepto de diseño se amplia, abarca otras áreas e establece interconexión con otros campos teóricos y prácticos, en relaciones de intercambios, superposiciones y fusiones. En este escenario se señalan las confluencias entre este campo de actividad y de saber, considerado en su forma más amplia, y los detalles del proceso que conduce al desarrollo de las imágenes cinematográficas. El establecimiento de este vínculo entre la película y el diseño está basado en una investigación teórica, consolidada por una encuesta conducida con autores-agentes que traducen la idea inicial de una película en imágenes. La investigación que aquí se describe busca el enfoque, los procedimientos, las fuentes y las reflexiones implicados en el diseño de los signos visuales en el cine, a partir de los testimonios de los creadores de un proyecto de imágenes, con el objetivo de aclarar los complejos mecanismos del proceso. En conclusión, las similitudes señaladas no sólo se muestran evidentes, cómo contribuyen al desarrollo de las nociones de inclusión y amplitud, vocación original del diseño.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-05T11:47:25Z No. of bitstreams: 1 Júlia Ramiro Belintani.pdf: 1644791 bytes, checksum: 109215c4c0bcff1bdea018ff4d8f8428 (MD5) / Made available in DSpace on 2018-12-05T11:47:25Z (GMT). No. of bitstreams: 1 Júlia Ramiro Belintani.pdf: 1644791 bytes, checksum: 109215c4c0bcff1bdea018ff4d8f8428 (MD5) Previous issue date: 2018-10-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The research has emerged from the concern about technologies that fascinate people due to their eases and possibilities and that also frighten because of the overlooked practices and knowledge that preceded them. Does the novelty replace what comes previously or simply overlap it? What does one gain and what does one lose in this process? Among several examples, I focused on a technological transition and a professional category that symbolized this lack of communication between the new and what precedes it; they mirrored each other. The film-to-digital transition in the cinema was also the projectionist - IT technician transition. What other transitions exist within this one? From film to digital. From the 35mm projector to the digital projector. From the projectionist to the IT technician. From the analog to the digital. From the photochemical film to the computer. From the touch to the virtual. From the physics and chemistry to the mathematics. The research has aimed to understand the film-to-digital transition from the point of view of the cinema projectionist. For that, semi-structured interviews were conducted with three professionals in the city of São Paulo, with similar years of experience and involvement with cinema, similar belonging and affection feelings. In addition, the narratives of two other professionals who worked in the 1950s have been added. These interviews were transcribed in full, sequentially organized in order to identify the themes and later analyzed through thematic maps. The results of the analysis were presented in a narrative form, composed by the direct inscription of the interviews, historical passages about the cinema and testimonies of other professionals of the area, as well as of intellectuals who dialogue with the research proposal. These different points of view have been structured in a narrative form in this dissertation, as a conversation. The research has been anchored in the constructivist approach of discursive practices and production of meanings in everyday life. The analysis pointed out to the intrinsic relationship between death and life in technology and in professional relationships, with emphasis on the importance of registration and of cultural memory / A pesquisa surgiu da inquietação diante de tecnologias que fascinam por suas facilidades e possibilidades e assustam pelo descaso com práticas e saberes que as precederam. O novo substitui o anterior ou apenas se sobrepõe a ele? O que se ganha, o que se perde nesse processo? Entre diversos exemplos, focalizei uma transição tecnológica e uma categoria profissional que simbolizavam essa falta de comunicação entre o novo e o precedente; espelhavam uma à outra. A transição película / digital no cinema era também a transição projecionista / técnico de TI. Quais outras transições existem dentro dessas? Da película para o digital. Do projetor 35mm para o projetor digital. Do projecionista para o técnico de TI. Do analógico para o digital. Do filme fotoquímico para o computador. Do tato ao virtual. Da física e da química para a matemática. A pesquisa teve por objetivo entender a transição película / digital do ponto de vista do projecionista de cinema. Para tanto, foram realizadas entrevistas semiestruturadas com três profissionais na cidade de São Paulo, com tempo de ofício e envolvimento semelhantes com o cinema, de pertencimento e afeto. Além disso, somaram-se às narrativas destes as de outros dois profissionais que atuaram nos anos 1950. As entrevistas foram transcritas na íntegra, organizadas sequencialmente para identificação dos temas e posteriormente analisadas por meio de mapas temáticos. Os resultados da análise foram apresentados de forma narrativa, compostos com a inscrição direta das entrevistas, passagens históricas sobre o cinema e depoimentos de outros profissionais da área, bem como de intelectuais que dialogam com a proposta da pesquisa. Esses diversos pontos de vista foram estruturados em narrativa nesta dissertação, como uma conversa. A pesquisa foi ancorada na abordagem construcionista de práticas discursivas e produção de sentidos no cotidiano. A análise apontou para a relação intrínseca entre morte e vida na tecnologia e nas relações profissionais, com ênfase na importância do registro e da memória cultural

This thesis examines visionary directors David Lynch and Panos Cosmatos aesthetics in the films Inland Empire and Beyond the Black Rainbow. Two films with surrealistic aspects that are using a form of degraded aesthetics to achieve a certain kind of cinematography that is rarely seen in the industry. We examine what tools are being used to achieve the effect with theories concerning defamiliarization, the uncanny and uncanny valley. Aspects of cinematography in these films are working together to create effects that are both defamiliarized and uncanny.

The following report is an in depth, step-by-step analysis of the processes and experiments undertaken during the creation of the thesis film, "Lofty," written, directed, photographed, scored, and edited by Patrick William Smith. From inception to mastering the finished film, this report serves to highlight the filmmaker's rationale behind attempts at various experimental methods of pre-production, production, and post-production on the film. / text

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In the late 1990s, motion picture and television production began a process of rapid digitalization with profound implications for cinematographers in Hollywood, as new tools for “digital cinematography” became part of the traditional production process. This transition came in three waves, starting with a post-production technique, the digital intermediate, then the use of high-definition video and digital production cameras, and finally digital exhibition. This dissertation shows how cinematographers responded to the technical and aesthetic challenges presented by digital production tools as they replaced elements of the film-based, photochemical workflow. Using trade publications, mainstream press sources, and in-depth interviews with cinematographers and filmmakers, I chronicle this transition between 1998 and 2005, analyzing how cinematographers’ responded to and utilized these new digital technologies. I analyze demonstration texts, promotional videos, and feature films, including Pleasantville, O Brother Where Art Thou, Star Wars: Attack of the Clones, The Anniversary Party, Personal Velocity, and Collateral, all of which played a role in establishing a discourse and practice of digital cinematography among cinematographers, producers and directors. The challenges presented by new collaborators such as the colorist and digital imaging technician are also examined. I discuss cinematographers’ work with standards-setting groups such as the Society of Motion Picture and Television Engineers, Academy of Motion Picture Arts and Sciences, and the studio consortium Digital Cinema Initiatives, describing it as an effort to protect “film-look” and establish look-management as a prominent feature of their craft practice. In an era when digitalization has made motion pictures more malleable and mobile than ever before, this study shows how cinematographers attempted to preserve their historical, craft-based sense of masterful cinematography and a structure of authority that privileges the cinematographer as “guardian of the image." / text