The execution of this thesis was based on one primare question and threesecondary questions: Primary question at issue: Is it possible to develop a system to previsualize computer generatedgraphics in real-time on a film set with available equipment on theuniversity? Secondary questions at issue: Is it possible to sync the camera feed with the motions of the HTC Vive to getan acceptable result in the game engine with existing equipment? Will the result be able to be integrated with the Computer Graphicsprogramme at LTU? How much access to control and manipulate the previsualized computergenerated graphics, while filming can be achieved? The purpose of this report is to try a method with the available equipment, toproduce a prototype of a tool to previsualize computer generated graphics inreal-time. The equipment used for the method was a computer, web camera, HTC Vive anda green screen. All the equipment was linked together with the game engineUnity. This resulted in a prototype of a tool that in real-time can mimic themotions of the camera, replace colored background and has the feature of realtimescene editing, as the previsualization runs. / Utförandet av detta examensarbete baserades på en primär frågeställning, samttre ytterligare sekundära frågor: Primär frågeställning: Kan man med hjälp av befintlig utrustning på universitetet ta fram enmodell för att previsualisera datorgenererad grafik i real-tid vid en inspelning? Sekundära frågeställningar: Kommer det gå att synka bild från webcamera med fångade rörelser frånHTC Vive och få ett godtagbart resultat från spelmotorn med befintligutrustning? Kan man använda resultatet som ett verktyg för utbildningen Datorgrafikpå LTU? Hur mycket kontroll för den förhandsvisade grafiken går att uppnå i realtid? Syftet med rapporten är att framställa och bepröva en prototyp av en produkt föratt kunna förhandsvisa datorgenererad grafik i real-tid, med befintlig utrustning. Metoden utövades med en dator, web kamera, HTC Vive och en green screen.Genom att använda spelmotorn Unity knöts utrustningen samman för attresultera i en prototyp som i real-tid fångar kamerans rörelser, ersätter färgadbakgrund och kan manipuleras direkt vid inspelning.

Esta tesis nace de una problemática en que la que actrices de cine se han visto envueltas en situaciones de abuso por sus directores. Esta investigación se centra en evidenciar aquellas prácticas que realizan tanto los directores como los actores en rodaje para evidenciar la raíz de estos acontecimientos. Además, también plantea herramientas de dirección y datos importantes acerca de estos dos agentes anteriormente mencionados. Para ello, se realizaron entrevistas a expertos en el tema para que puedan brindar información verídica de lo que se vive en el proceso de realizar una película, específicamente en rodaje, y los límites que se pueden cruzar entre actor y director en escena. / This thesis is born from a problem in which the actresses of cinema have been involved in situations of abuse by their directors. This research focuses on evidencing those practices performed by the directors and the actors on film to demonstrate why these events happen. In addition, it proposes tools of direction of actors and important information about these two agents previously mentioned. To do this, interviews were conducted with experts on the subject so they can provide true information about what is experienced throughout the process of making a film, emphasizing the shooting, and the limits that can be crossed between actor and director on filming. / Trabajo de investigación

This diploma thesis deals with profession of mannequin in Czechoslovak. Focus is on the 1960s and 1970s of the 20th century. The diploma thesis focuses on questions, how the woman in Czechoslovakia could become a mannequin, how mannequins were perceived by ordinary people, what position in the world of work they had and what benefits mannequins had from their professions (e.g. benefits in the opportunity of travel, the opportunity to participate in an international exhibitions, filming etc.). The diploma thesis also focuses on the image of mannequins in contemporary media, especially in a feature film. In the diploma thesis there is not neglected contemporary fashion as well with focusing for example on artificial fabric or fashion that was seen in common shops and on the streets. The supporting structure of the thesis consists of interviews with mannequins of the socialist era, but one of the narrators is also a fashion designer Zdeňka Bauerová.

Ce mémoire en Études cinématographiques en est un de recherche-création et porte sur le métier de premier assistant réalisateur au Québec. Le mémoire est accompagné d’un film documentaire (HD 27 min.) réalisé et monté par Anne-Catherine Bolduc. Le matériel de tournage des entrevues (20 heures) constitue le document de référence ayant permis le montage synthèse des entretiens menés auprès des assistants réalisateurs ainsi que la présente étude sur ce métier méconnu. Filmé en 2014, il présente le point de vue de dix professionnels sur le métier de premier assistant à la réalisation. Les deux documents décrivent et analysent en quoi consiste ce métier, en évaluant les fonctions ainsi que les impacts créatifs et organisationnels sur le projet. Ils répondent à deux questions principales, soit qu’est-ce que le travail d’un premier assistant réalisateur au Québec aujourd’hui et a-t-il une influence créative sur la production télévisuelle ou cinématographique. / This memoir in Film studies has been written in a context of research-creation and is about the first assistant director’s work in Quebec. A documentary (HD 27 min.) directed and edited by Anne-Catherine Bolduc goes along the master. The interviews footage (20 hours) is the reference for the executive summary of the documentary’s interviews and for this study of the first assistant director’s unknown job. Filmed in 2014, the documentary presents the viewpoint of ten professionals about the first assistant director’s job. The two documents describe and analyze the first assistant director’s job in evaluating the functions as well as the organizational and creative impacts on the realization. They address two main questions, namely what is the first assistant director’s job currently in Quebec and do the first assistant director have a creative influence on the film or television production.

Atomization of fuel is an important pre-requisite for efficient combustion in devices such as gas turbines, liquid propellant rocket engines, internal combustion engines and incinerators. The overall objective of the present work is to explore air-assisted atomization strategies for high viscosity fuels and liquids. Air-assisted atomization is a twin-fluid atomization method in which energy of the gas is used to assist the atomization of liquids. Broadly, three categories of air-assisted injection, i.e., effervescent, impinging jet and pre-filming air-blast are studied. Laser-based diagnostics are used to characterize the spray structure in terms of cone angle, penetration and drop size distribution. A backlit direct imaging method is used to study the macroscopic spray characteristics such as spray structure and spray cone angle while the microscopic characteristics are measured using the Particle/droplet imaging analysis (PDIA) technique. Effervescent atomization is a technique in which a small amount of gas is injected into the liquid at high pressure in the form of bubbles. Upon injection, the two-phase mixture expands rapidly and shatters the liquid into droplets and ligaments. Effervescent spray characteristics of viscous fuels such as Jatropha and Pongamia pure plant oils and diesel are studied. Measurements are made at various gas-to-liquid ratios (GLRs) and injection pressures. A Sauter Mean Diameter (SMD) of the order of 20 µm is achieved at an injection pressure of 10 bar and GLR of 0.2 with viscous fuels. An image-based method is proposed and applied to evaluate the unsteadiness in the spray. A map indicating steady/unsteady regime of operation has been generated. An optically accessible injector tip is developed which has enabled visualization of the two-phase flow structure inside the exit orifice of the atomizer. An important contribution of the present work is the correlation of the two-phase flow regime in the orifice with the external spray structure. For viscous fuels, the spray is observed to be steady only in the annular two-phase flow regime. Unexpanded gas bubbles observed in the liquid core even at an injection pressure of 10 bar indicate that the bubbly flow regime may not be beneficial for high viscosity oils. A novel method of external mixing twin-fluid atomization is developed. In this method, two identical liquid jets impinging at an angle are atomized using a gas jet. The effect of liquid viscosity (1 cP to 39 cP) and surface tension (22 mN/m to 72 mN/m) on this mode of atomization is studied by using water-glycerol and water-ethanol mixtures, respectively. An SMD of the order of 40 µm is achieved for a viscosity of 39 cP at a GLR of 0.13 at a liquid pressure of 8 bar and gas pressure of 5 bar. It is observed that the effect of liquid properties is minimal at high GLRs where the liquid jets are broken before the impingement as in the prompt atomization mode. Finally, a pre-filming air-blast technique is explored for transient spray applications. An SMD of 22 µm is obtained with diesel at liquid and gas pressures as low as 10 bar and 8.5 bar, respectively. With this technique, an SMD of 44 µm is achieved for Jatropha oil having a viscosity 10 times higher than that of diesel.

No description available.

[pt] No ano de 1965, o cineasta Jorge Prelorán deu início a uma vasta série documental, intitulada Relevamiento Cinematográfico de Expresiones Folklóricas Argentinas, direcionada à pesquisa e ao registro audiovisual de regiões interioranas do país. O projeto, que contou com o patrocínio de instituições como a Universidad Nacional de Tucumán e o Fondo Nacional de las Artes, foi desenvolvido em meio a um pulsante contexto intelectual e artístico, marcado tanto pela emergência das mais diversas propostas de renovação da linguagem cinematográfica, como pelo amplo fenômeno conhecido como boom do movimento folclórico, ocorrido nos anos 1960, na Argentina. Nesse sentido, o objetivo desta tese foi o de investigar de que maneira Jorge Prelorán teria reelaborado, nas películas por ele realizadas para o Relevamiento (1965-1975), um conjunto de temas, tópicas, metodologias, recursos narrativos e procedimentos discursivos provenientes de três amplos domínios, com os quais o diretor manteve os mais estreitos contatos: a larga tradição de ensaios de interpretação da Argentina, dedicada, ao longo do tempo, à tarefa de figuração da nação; os campos do folclore e da antropologia vigorantes no país, em suas múltiplas vertentes; e as correntes do cinema etnográfico com as quais o diretor chegou a estabelecer longevos vínculos. Os diálogos travados entre a obra de Prelorán e as tradições intelectuais e artísticas mencionadas – diálogos esses que estiveram quase sempre pautados nas estratégias de descrição da natureza, nos diferentes modos de figuração do tempo e do espaço e nos modelos de representação da arte e da cultura manejados pelo documentarista – foram concebidos, ao longo da pesquisa, como variações em torno de quatro grandes temas: a cartografia, a viagem, o compêndio e a metodologia empática de filmagem. / [en] In 1965, the filmmaker Jorge Prelorán began to develop a vast documentary series, entitled Relevamiento Cinematográfico de Expresiones Folklóricas Argentinas, dedicated to the study and filming of inlands regions of the country. The project, which was sponsored by Universidad Nacional de Tucumán and Fondo Nacional de las Artes, took place in the midst of an intellectual and artistic context marked both by the emergence of diverse proposals for the renewal of cinematographic language, and by the cultural phenomenon known as boom of the folk movement, which occurred in the 1960s in Argentina. Therefore, the purpose of this thesis was to investigate how Jorge Prelorán reformulated, in the films he made for the project between 1965 and 1975, a set of themes, topics, methodologies, narrative resources and discursive procedures originated from three broad domains, with which the director maintained close contacts: the long tradition of Argentine essays, dedicated to the interpretation of the nation; the fields of folklore and anthropology prevailing in the country, in its multiple phases; and the modalities of ethnographic cinema with which the director related in those years. The dialogues that were established between Prelorán s work and the intellectual and artistic traditions mentioned previously – dialogues that were almost always based on the strategies of describing nature, on the different modes of representing time and space and on the models of depicting art and culture used by the filmaker – were conceived throughout this research as variations around four major themes: cartography, travel, compendium and empathic filming methodology.