Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-10-11T15:12:32Z No. of bitstreams: 1 carloseduardomendesdearaujocouto.pdf: 3542859 bytes, checksum: aebdebd5344f8d870b3cdc89d436ec83 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-10-16T14:08:14Z (GMT) No. of bitstreams: 1 carloseduardomendesdearaujocouto.pdf: 3542859 bytes, checksum: aebdebd5344f8d870b3cdc89d436ec83 (MD5) / Made available in DSpace on 2018-10-16T14:08:14Z (GMT). No. of bitstreams: 1 carloseduardomendesdearaujocouto.pdf: 3542859 bytes, checksum: aebdebd5344f8d870b3cdc89d436ec83 (MD5) Previous issue date: 2018-07-09 / O cinema brasileiro contemporâneo apresenta três aspectos relevantes. Um deles é a presença da Globo Filmes, associada à diversas produtoras independentes, tornando-se a empresa mais poderosa do setor. Outro, a utilização das tecnologias digitais em todos os procedimentos cinematográficos, possibilitando variadas criações visuais. O terceiro aspecto diz respeito às comédias com a marca Globo Filmes, dominando o mercado cinematográfico nacional. A partir desse contexto, a pesquisa busca, em um primeiro momento, tratar do atual mercado brasileiro de pós-produção digital, analisar teoricamente o processo de color grading e compreender a função do colorista na criação da estilística visual dessas comédias. Em um segundo momento, apresentaremos as formas de utilização dos estilos cromáticos das comédias da Globo Filmes no atual cinema brasileiro. Como estudos de caso, analisaremos três recentes obras desse gênero: Se Eu Fosse Você 2 (Daniel Filho, 2009), Qualquer Gato Vira-Lata (Tomas Portella, 2011) e Até que a Sorte nos Separe (Roberto Santucci, 2012). / Contemporary Brazilian cinema presents three relevant aspects. One of them is the presence of Globo Filmes, associated to several independent filming companies, making it the most powerful company in the sector. Another point is the use of digital technologies in all of the cinematographic procedures, allowing a variety of visual creations. The third aspect concerns the dominance of the comedies with the brand Globo Filmes over the national film market. From this context, this study seeks, initially, to deal with the current Brazilian digital post-production market so as to theoretically analyze the process of color grading and understand the function of the colorist in the creation of the visual style of these comedies. Follwoing, the ways of using the chromatic styles of the comedies of Globo Filmes in the current Brazilian cinema are presented. As a case study, three recent works of this genre are analyzed: "Se Eu Fosse Você 2"(Daniel Filho, 2009), "Qualquer Gato Vira-Lata" (Tomas Portella, 2011) and "Até que a Sorte nos Separe" (Roberto Santucci, 2012).

Hear Color and See Sound - What happens when I combine flamenco guitar and film in a live performance? This master thesis explores the combination of two art forms. The purpose is to use live projections to enhance my guitar composition with movie. My research question is: what happens when I combine flamenco guitar and film in a live performance? I explore if visual qualities add a deeper meaning to my instrumental music by experimenting with color science and video telling/editing techniques. I’ve tested through surveys and live performances if the audience perceive my music differently, by showing contrasting footage or footage that synchronize with my musical compositions. Resulting in an exam concert where I control the prerecorded video compositions with a touch screen interface through the video-jockey software Resolume, while also performing the music (which have been timed for the videos) live together with a flamenco singer and dancer.

<p>Color has been significant in visual arts for as long as the art-forms have existed. Still images and movies have long used colors and color grading effects to affect the viewer and characterize the work. In recent years attempts have been made to bring these techniques of stylizing also to interactive games. This dissertation aims to compare two different approaches of performing real-time color grading for games. Focus is put on examining the two ways from a number of different perspectives and from there draw conclusions on advantages and disadvantages of the approaches. The results show no unanimously superior approach but rather aim to break down the results in categories and attempt to explain the benefits and drawbacks in using either one of them, aiding the decision for anyone inclined to implement color grading effects in games.</p>

Color has been significant in visual arts for as long as the art-forms have existed. Still images and movies have long used colors and color grading effects to affect the viewer and characterize the work. In recent years attempts have been made to bring these techniques of stylizing also to interactive games. This dissertation aims to compare two different approaches of performing real-time color grading for games. Focus is put on examining the two ways from a number of different perspectives and from there draw conclusions on advantages and disadvantages of the approaches. The results show no unanimously superior approach but rather aim to break down the results in categories and attempt to explain the benefits and drawbacks in using either one of them, aiding the decision for anyone inclined to implement color grading effects in games.

By utilizing a Research through Design approach this master thesis studies how technological changes might affect professionals working in the motion picture industry, specifically; how the advent of HDR (High Dynamic Range) affects the colorist. The research questions formulated are the following; (1) How can color grading in HDR be approached? (2) What effect can HDR have on visual modality? (3) What specific affordances can HDR offer the colorist? (4) How can HDR affect the creative space of the colorist? Three of the research questions are derived from the theoretical framework applied in this master thesis; starting with the social semiotic implementation of the term modality (models of reality), the Gibsonian term affordance (possibilities for action and meaning making) and its use in communications research, and lastly; the concept of creative space in motion picture production. Analytic autoethnography was used to generate primary data by documenting the process of color grading a 13-minute short film, and also performing semistructured interviews with four colorists. Amongst other findings, this study found that HDR offers a wider range of modality expression than SDR (Standard Dynamic Range); regarding several visual modality markers. Four HDR-specific affordances were formulated; (1) color expandability, (2) highlight differentiability, (3) tonal rangeability, (4) brightness disturbability. Relating to the concept of creative space; the colorists expressed a concern that they will have to create multiple versions when delivering HDR, but not get a bigger budget for it, therefore having less time to spend on other aspects of color grading.

Thriller är en favoritgenre för många och har funnits längre än de flesta tror. Ursprungligen som en litteraturgenre har den utvecklats till en av de mest eftertraktade genrerna inom film. Tidiga anmärkningsvärda verk som Alfred Hitchcocks filmer i mitten av 1900-talet har banat vägen för genren och utformat dess redigering och cinematografi till vad vi har idag. Trots sin ödmjuka början i mitten av 1900-talet lyckas teknikerna, även om dem är aningen repetitiva, fortfarande vara relevanta idag och har bara utvecklats med åren. I den här artikeln studerar vi grunderna inom thrillergenren, redigerings- och filmtekniker som används; kameraarbete, klippning, PoV och färgsättning. I denna studie är vårt huvudsakliga fokus att förstå varför dessa tekniker används. Utöver kommer vi också gå djupare in i thrillergenren i helhet och trots genrens repetitivitet, försöka förstå oss på varför den lyckas vara relevant idag och hur redigering och cinematografi spelar en stor roll för att förstärka känslorna i thrillers där dessa tendenser härrör från. / Thriller is a favourite genre to many and has been around for longer than most think. Originally starting as a genre of literature, it has evolved into one of the most sought after genres within film. Early notable works such as Alfred Hitchcock's films in the mid 1900s have paved the way for the genre and solidified it’s editing and cinematography into what we have today. Despite its humbling beginnings in the mid 1900s the techniques, although somewhat repetitive, still manage to stay relevant today and have only gotten more advanced with time. In this article, we study the fundamentals within the thriller genre, the editing and cinematography techniques that are utilized; camera framing, cutting, PoV and color. In this study our main focus we intend to work towards is understanding why these techniques are used and the tendencies in which they are facilitated. Although we also intend to go in depth into the thriller genre as a whole and despite the repetitiveness of the genre, why it manages to stay relevant today and how editing and cinematography plays a big part in amplifying the emotions and feelings associated within thrillers in which these tendencies stem from.

Color correction and grading are processes when fixing colors in recorded footage in Post-Production. The process of the two mentioned is a mix of technical adjustments and creativity. Color correction adjusts the colors between the clips/scenes so they match and look as natural or unique as possible. Grading is about the process of enhancing the look of a footage to achieve a certain style, it is of a more creative nature.Today, color correcting and grading are performed using desktop applications. The process means that recorded material is sent to the colorist from the set where it is received and downloaded to the computer where the work is performed. When the processing is considered complete, it is sent back to the recording team. This could be considered time consuming, and this process could be improved by using Accurate Video which is a web based program. Today, there are no features for color correction and grading in Accurate Video. The aim of this study was to design a User Interface (UI) for color correction and grading tools for Accurate Video application that meet the goals and needs of the people in this field of work, i.e. colorists. Based on literature studies including design guidelines, studies of what existing professional editing programs look like and what Accurate Video looks like, as well as interviews with colorists, a prototype was developed.