This thesis explores the significance of digital cinematic technology within the independent film community. The main objective of this study is to demonstrate how various forms of digital technology (including cameras, non-linear editing software, and projection systems) are "democratizing" the processes of production, post-production, distribution, and theatrical exhibition.

Thesis (M.F.A.)--Montana State University--Bozeman, 2007. / Typescript. Chairperson, Graduate Committee: William Neff. Includes DVD. Includes bibliographical references (leaves 38-40).

No description available.

Thesis (M.A. (Digital Animation))--University of the Witwatersrand, Faculty of Humanities, 2016 / Time slicing is a film-based visual effect that refers to an enhanced simulation of time at variable speeds by creating the illusion of frozen or slowly progressing motion in time; it is most commonly digitally manipulated. This report will research and analyse how it can be utilized to amplify dramatic tension, or suspenseful situations in contemporary action films through theories, technology and various filming techniques. The theoretical methodology in this report is a historical account of the technology and process in the evolution of time manipulation within photography and film leading up to time slicing. Some Film theory is included in this report in a more conceptual manner as to why time slicing or slow motion is used in suspenseful situations, particularly in the action film genre. The report also demonstrates how the high standards of time slicing in feature films can be similarly achieved on a budget which will be demonstrated through a practical component that will compare a real time versus a time sliced scenario. While it would be preferable to use a full 360-degree array of cameras, the technology involved in time slicing has not yet reached a point where it is economically accessible to a student film maker and most local industries, which is why the focus of the research paper analyses a shorter array of cameras that is just enough to capture a time slice effect. The results will then be assessed based on dramatic tension/suspense to see if they equate to the theories of montage and mise en scène discussed in the research report. As a case study, the report will then compare a scene from The Matrix to that of a scene produced as part of the practical component in order to draw conclusions on quality and the possibilities of a lower budget set-up. / MT2017

Thesis (M.A. (Digital Animation))--University of the Witwatersrand, Faculty of Humanities, 2016 / This study aims to determine whether motion-captured animation is better suited for hyper-realistic or caricatured film aesthetics and whether it creates or breaks the aesthetics engagement for the viewer. This will be done by analysing how each aesthetic maintains or breaks 'suspension of disbelief' in viewers towards character engagement and identification. This paper specifically aims to report on a study of body motion capture, via attaching trackers only on the body and not on the face and fingers. Films used to critically analyse these ideas will be The Advantures of Tintin: The secret of the Unicorn (year) directed by Steven Spielberg to illustrate motion capture, which pertains to caricatured animated feature film aesthetics with caricatured designs. in comparison Beowulf (year) directed by Robert Zemeckis will be studied to demonstrate motion capture with hyper-realistic aesthetics. Motion capture has often been critiqued negatively for its depiction of human characters and their movement as having a disturbing appearance; which is mostly criticised as effects of the Uncanny valley- a phenomenon first introduced by Professor Masahiro Mori. There are currently 13 major motion capture animation feature films, such as Final Fantasy: Spirits within, final fantasy: Advent children, the polar express, Last order final fantasy VII, monster house, happy feet, Beowulf, A Christmas Carol, The Adventures of Tintin: The secret of the Unicorn, Mars needs moms, Happy feet 2, kochadaiiyaan, Space Captain Haddock. With the amount of motion capture being used in current animation features, especially with a local South Africa studio such as The Flying Circus using it as a means of saving costs on animation production, there needs to be an understanding of where motion capture is best suited depending on the aesthetic design of the film. This becomes especially imperative to animated films, because it has its own codes of depicting 'realism' that are separate to that of live action films that are discussed in details in the paper. To conclude, this study will aid in determining which aesthetic style provides better engagement through a critique of aesthetics the films chose to pursue and which keeps viewers succumbed to 'suspension of disbelief'. This will aid in determining whether motion capture is an appropriate method to creating animated movement for a particular aesthetic. / MT2017

Thesis (M.F.A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes bibliographical references (p. 108-111).

Thesis (M.A.)--Victoria University of Wellington, 2009. / Includes bibliographical references.

No description available.

Digital cinema has provoked a strong response over the last decade, not only from the movie-going public, but also from film theorists. It has re-opened basic theoretical questions about cinematic representations of and reference to reality. / This thesis begins with a critical review of the vast theoretical literature dealing with the digitization of the cinema. Most theorists have come to the conclusion that the cinema is dead because digitization has severed the ties between what we see on the screen and real life. At root, this conclusion is derived from a structuralist, nominalist position prevalent in contemporary film theory. / I argue, instead, that film theory needs to re-address the complex issue of the relationship between image and reality, rather than simply accepting the traditional view. In so doing, I follow Stanley Cavell's call for a more thorough consideration of realist traditions in film theory, the premise of which is an unquestioned relationship between representation and reality. / The complexity and subtlety of that relationship has been addressed most systematically and fruitfully by Charles Saunders Peirce. Indeed, many structuralist theorists have made reference to Peirce in response to the shortcomings of a semiologically inflected film theory. In the second step of my argument, however, I show that structuralist theory has produced misleading conclusions, since a Peircian semiotics is incommensurable with the structuralist position. In fact, this implicit conflict has led theorists to doubt the real in the digital cinema, rather than investigating the logically necessary continuity of reality and representation, regardless of its technological kind.

This project presents an overview of the entertainment industry's acceptance of women historically within its job market and a changing climate due, in part, to emerging digital technology. Findings suggest the female-disadvantage in procuring a behind-the camera job in the entertainment industry is on the decline. Also, the disparity between the number of women versus men working in this industry appears to be narrowing. New technology seems to be speeding up these processes, due largely in part to its relatively low cost and accessibility. An apparent shift in societal views of gender roles couples with this new technology to help level the career field between men and women in this new media age. This project also serves as a reference guide for individuals seeking to enter a career in the entertainment industry. / Department of Telecommunications