Nahlížíme-li na profesi kameramana jakožto na určitou formu umění, pak toto umění dnes stojí na rozcestí. Kolem pojmu kameramanství je dnes určitá kontroverze, zejména v kontextu filmů, u kterých byla klasická kamera podřízena virtuálním technikám (např. Matrix, Life of Pi, Gravitace). Následující práce se zaobírá historickým vývojem kameramanských technik a jejím cílem je ověřit, zda je virtuální kinematografie krokem kupředu v evoluci práce kameramana. Ve snaze dobrat se co nejpravdivější odpovědi, rozhodl jsem se analyzovat práci kameramanů výše zmíněných celovečerních snímků ve smyslu spolupráce se supervizory vizuálních efektů a celým kreativním týmem. V této studii se snažím objasnit, jak tito kameramani použili nové techniky za účelem podpoření dramaturgie příběhu.

Chinese martial art t'ai chi ch'uan emphasizes the skills of stability of the body, smoothness of movement and especially of walk. This thesis asks a question, whether the techniques of t'ai chi are usable in handheld camera work. In the introductory essay part the author subjectively interprets the elements of both Chinese thinking and the art of t'ai chi, to the degree he had opportunity to explore. In a enquiry among Czech documentary cameramen he tries to find links with the oriental praxis, and, finally, in the last part, he introduces a set of practices of t'ai chi, usable for camera work.

Head cameraman - function on live broadcasting - multicamera shootig, Description of the preparation of multi-camera shooting a television sports coverage. The distribution of camera positions in the athletics grounds, football pitches and sport halls - hockey and martial arts. The layout and scanning angles of the cameras. Shooting preparations of the motor racing and winter sports. Construction of camera towers and incorporating them into the shooting scene. Comparison of the technologies used in the Czech Republic and in the world. Wireless transmission of images used for long distance - a general description of the technology. Technology equipment and OB van HDTV description. Stereoscopic shooting and preparation for broadcasting in UHDTV2.

The thesis is a study of stereoscopy from a cinematographer's point of view. It views stereoscopy in it's entire spectrum of today's use - from rides in theme parks, over commercial narrative films, to documentaries with a cultural value. It briefly takes a look at the early theories of binoculars, the early stages of stereoscopy discovery and stereophotography. Next it briefly focuses on the history of stereoscopy in cinema from its beginning, to it's renaissance in the 1950's up to today. Thereafter the thesis continues with a description of the principles of depth perception, with keywords like disparity, parallax, convergence and accommodation. It mentions the importance of non-stereoscopic depth cues to the process of stereopsis. The next part concentrates on the stereoscopic window, which is analogical to the frame and it's borders in conventional cinema. It investigates the screen size, the distance limit of the far plane and stereoscopic window violation. It continues in breaking down the stereoscopic image and factors that influence the size perception of objects and figures in it's space, as well as analyzing the perception of the whole image depending on the viewer's position to the screen. Attention is given to a special case of stereoscopy - orthostereoscopy. Depth bracket, native parallax and terms such as stereo comfort zone, depth budget and depth bracket are defined to create an understanding of the importance of the concept of the depth chart. The aesthetics of depth is demonstrated on a few recent stereoscopic films. A general overview of equipment for stereoscopy follows - rigs, 3D monitors and software. The thesis continues in discussing the tools of the cinematographer divided into two groups - non-stereoscopic and stereoscopic. The non-stereoscopic are linear and colour perspective, atmosphere blur, focus and camera movement. While the stereoscopic tools are interaxial distance and convergence. The cases of hypostereoscopy and hyperstereoscopy are understood as tools of the trade as well. The next chapter is dedicated to the specifics and limitations of stereoscopic imaging - the necessity of perfect pairing of cameras, lenses, the specifics of framing for stereoscopy, issues related to the mirror in the rigs, lighting and use of optical camera filters. The next part of the thesis briefly covers related topics that have an impact on the image as well. Namely set design, post-production, with stress on colour grading, and various stereoscopic projection systems, including autostereoscopy. The last part of the thesis is an interview with cinematographer Andrew Lesnie, ACS, ASC who shares his experience on shooting the Hobbit. The conclusion is a reflection on the question, if stereoscopy is a tool and it also tries to estimate the future of stereoscopy in film and television.

This thesis explores how a cinematographer can reflect his/her own style in the

Diplomová práce ze zabývá tvorbou Lucy Bigazziho, jednoho z nejdůležitějších současných italských kameramanů. Analýza jeho filmů ukazuje, jakým způsobem svými úvahami o kinematografii a jedinečným vizuálním stylem ovlivnil spolupracovníky, i italský film v posledních 30 letech.

My diploma work is an analyzation of a cooperation between the DOP and a director.

In this diploma thesis I summarize and analyze information about cinematographers of the 70`s and 80`s of the 20th century. I deal with the basics of theory in the context of the period, as well as artistic relationships, and detailed analysis of specific films, with the target to explain the innovative visual procedures established in this period in Russia. I aim to show the influence of the unique production of the period on todays work by analyzing given means of expression.

I want to analyze particular films for how paintings guided cinematographer to make certain choices for film´s overall look, looking at An American in Paris, Mazany Filip and Cyrano de Bergerac.

I want to examines the Logn Take or sequence shot for its impact on the audience´s reception of a film