This thesis is focused on digital image postproduction -- specific field, which is responsible for digital creation and manipulation with image data of a feature film or a commercial. To achieve that, it uses large amount of human resources and the newest computer technology. The aim of this thesis was to review actual situation in film production from the informatics point of view. That comprises of explanation of field specifics, identification of information system in a typical postproduction house and finding ways how to effeciently manage postproduction projects through that. Thesis is designed as a complex practical guide, which is well understandable both to inexperienced people and proffesionals and delivers them useful information. It can be used by existing employees of a postproduction house (primarily managers and heads), freelancers or prospective future employees. This thesis highlights importanant aspects of postproduction, connected risks and helps people's to better orientate in this field. Outputs are numerous table summaries, recommendations, tips and hints and examples of possible solutions of actual postproduction problems. They are based on many internet sources and my own previous experience as a 3d graphic.

Essay concerning some of the methods used in my artistic practice. With starting point in art as a tool for communication I explain how I in the making process divide all works into their content (what is being said) and their package (how it's said). This is discussed in relationship to Nicolas Bourriad's "Postproduction" and Kenneth Goldsmith's "Uncreative writing".

Med utgångspunkt i sin kandidatutställning behandlar Elsa Essinger i den här essän tankar kring rörelse i det urbana stadsrummet, abstrahering av grafisk kommunikation i det offentliga, konstnärlig remixing av befintligt material och ett queert förhållningssätt till objekt. Med referenser och inspiration hämtat från Nicolas Bourriauds essä Postproduction, Lars Arrhenius verk The Street och Sara Ahmeds föreläsning Queer Use utforskar Essinger teman och tankeställningar som ligger till grun för hennes konstnärliga arbete.

This diploma thesis aims to describe how public and private television news work with visual emotionality and which aspects of the production process form the main contributors to its in- terpretation. It does so with the help of a quantitative content analysis of the three phases of the news process at the main news programs of Česká televize and TV Nova. The results outline the share of visual emotionality in the news of commercial and public television. At the same time, it also offers a summary of the dramatization means that both media use to interpret visual emotionality in their main news programs.

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Post-product studios which finalise the results of authorial audiovisual products are an important part of the media space. In this thesis, I am dealing with one of the phases of post-production film processing -- the methodology of management and optimization of VFX projects, by which I mean the utilization of computer graphics in the creation of special visual effects in film and advertising. In order to optimize VFX projects I designed a sample project based on a typical, VFX postproduction which became the basis for the comparison of the general principles of the project management and actual procedure used in practice with the quest to optimize the management of the project. The purpose of this thesis is to establish a project management methodology for a VFX project which consists of four subsequent steps. The first step is the division of a VFX project into phases. The second step is the identification of auxiliary computer programmes for each phase, followed by an analysis of the risks and the evaluation of the optimal procedure. The first part of this thesis is devoted to the general definition of computer graphics and their use in post-production. The second part focuses on the development of the management methodology of VFX projects by testing it on a sample project.

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.

SpaceX as aerospace manufacturer and space transport service technology company work along to make reusable rockets, their long term plan is to make spaceflight affordable routine. Elon Musk, as CEO, is involved in every step of decision making as he has mentioned in interviews. The rocket's engine has undergone a number of improvements, and to increase its efficiency and power, a number of parts has been reduced. The redesigning process involves several decisions, such as in-house or out-source production. This research provides a practical framework for contractors, suppliers, and manufacturers to build a more reliable, affordable, and low cost supply chain. As a result, the objective of my dissertation is to explore how managers can extend the useful life of their assets and reduce their total cost of ownership. The main research focus for this dissertation is lifecycle affordability (LCA) for capital intensive products when post production costs are significantly higher than production costs. Lifecycle cost is often not considered by firms in a product, service or asset when making acquisition decisions. Firm's acquisition are mainly based on the initial cost of the product. Decision making without considering the entire lifecycle cost of a product impacts the firm's profitability, revenue, pricing strategies, and competitiveness. Evaluating the trade-offs between all the costs involved in the product lifecycle can help firms to have an estimation of costs before making any acquisition decisions. To address these challenges, lifecycle affordability (LCA) considerations can enable firms to focus their decisions on their long-term investment process rather than trying to save on initial cost of purchasing a product. This dissertation presents the following research question: how has lifecycle affordability been represented in supply chain research to date? And what are constructs of lifecycle affordability? To address this research question, the dissertation is comprised of three separate essays. The first essay conducts literature review method to provide a framework for lifecycle affordability that reduces the total lifecycle cost while maintaining the reliability and efficiency of the capital equipment, and identify existing research gaps and future LCA research ideas. The second essay is constructed on a survey-based method and investigations how homeowners' lack of understanding lifecycle cost, and long-term affordability affects their dissatisfaction with the home purchase. A regression model is developed to study the factors that explain Homebuyers' lack of understanding cost, and affordability considerations. The third essay developed an agent-based model (ABM) to study small medium businesses (SMB) when the business organization and the community is hit by a disaster. The objective of the study is to investigate the resiliency and lifecycle affordability management of the community and the small medium businesses.

This research project explores the creative and critical functions of editing in art, film and writing. The written component analyses the histories and discourses of 'cutting and splicing' to examine their various roles in processes of signification. The artistic practice uses more speculative and open-ended methods to explore the social 'languages' that inform our inter-subjective experiences. This project argues that editing is a creative methodology for making meaning, because it allows existing symbolic systems to be appropriated, revised and rewritten. By emphasising the operations of spacing, questioning and play, it also identifies editing as an essential tool for critically engaging with the potentials of art and theory.

Contar historias a través de la pantalla grande, obliga a que los realizadores encuentren nuevas formas de expandir sus posibilidades expresivas. Se requiere del uso de diferentes técnicas que se articulen, junto con la estrategia visual y la estrategia narrativa, para concebir un universo de posibilidades. En años recientes, y gracias al surgimiento de las nuevas tecnologías, la postproducción digital cuenta con una serie de herramientas que permiten recrear situaciones inverosímiles. Estas se han usado, por ejemplo, para alterar la apariencia de los personajes y de esa forma exponer conflictos humanos relacionados con los prejuicios de los diferentes grupos que actúan dentro de la sociedad. Los efectos especiales de postproducción se han perfilado como una forma práctica, rápida y económica de alterar las secuencias grabadas, y por eso su uso se ha extendido en las películas que se han estrenado recientemente. Sin embargo, el uso de efectos especiales por sí solo no basta para lograr un buen resultado. En la construcción de una película, es necesario combinar tres elementos fundamentales: La estrategia narrativa, la estrategia visual y los efectos especiales, los cuales contribuyen a recrear los elementos necesarios que pondrán en funcionamiento el universo ficcional que se quiere presentar en la pantalla. Es por ello que, la construcción de una historia coherente pasa por articular los diferentes elementos y, de esa forma, tomar las decisiones más acertadas para hacer que el montaje produzca el efecto esperado. Se trata, entonces, de articular un discurso cinematográfico coherente, en donde cada uno de sus elementos sume valor a las escenas que desean presentarse ante la audiencia. De esta forma, la creación de una estrategia narrativa blindada pasa por conciliar estos elementos de tal forma que trabajen como una sola maquinaria para explicitar los problemas que se esconden dentro de la trama. Es por ello que los efectos especiales suelen ser ampliamente usados en las películas comerciales que se proyectan en los cines con el fin de complementar la estrategia narrativa. Las técnicas usadas en postproducción digital facilitan la incorporación de diferentes elementos, escenarios o personajes que, de otra forma, no podrían formar parte de la misma. Con ello, los realizadores y encargados de la producción cinematográfica tienen la posibilidad de intervenir sobre las escenas previamente grabadas, y de esa forma aportar a la construcción de la estrategia narrativa general de la película. / Telling stories through the big screen, forces filmmakers to find new ways to expand their expressive possibilities. It requires the use of different techniques that are articulated along with the visual and the narrative strategies to conceive a universe of possibilities. In recent years, and thanks to the new technologies, digital postproduction has a series of tools that allows to reproduce unreal situations. These have been used, for example, to modify the appearance of characters and expose human conflicts related to the prejudices of the different kind of groups within a society. The special effects of postproduction have been established as a practical, fast and economical way to improve recorded scenes, and this is why their use have been extended in recent released films. However, the use of special effects alone is not enough to achieve a good result. In the construction of a film, it is necessary to combine three fundamental elements: The narrative strategy, the visual strategy and the special effects, these contribute to recreate the necessary elements that will make work the fictional universe you want to present on the screen. That’s why the construction of a coherent story involves combine the different elements and, in this way, taking the best decisions to make the edition to generate the expected results. Then It’s all about to show a coherent cinematographic material, where each element adds value to each scene they wish to present to the audience. In this way, the creation of a strong narrative strategy involves unify these elements in such a way that they work as a single mechanism to explain the problems hidden in the plot. This is why special effects are used globaly in commercial films that are proyected in cinemas in order to complement the narrative strategy. The techniques used in digital postproduction facilitate the incorporation of different elements, scenarios or characters that otherwise could not be part of it. With this, the filmmakers have the possibility to intervene on previously recorded scenes, and then contribute to the construction of the narrative strategy of the film. / Tesis