In the late 1990s, motion picture and television production began a process of rapid digitalization with profound implications for cinematographers in Hollywood, as new tools for “digital cinematography” became part of the traditional production process. This transition came in three waves, starting with a post-production technique, the digital intermediate, then the use of high-definition video and digital production cameras, and finally digital exhibition. This dissertation shows how cinematographers responded to the technical and aesthetic challenges presented by digital production tools as they replaced elements of the film-based, photochemical workflow. Using trade publications, mainstream press sources, and in-depth interviews with cinematographers and filmmakers, I chronicle this transition between 1998 and 2005, analyzing how cinematographers’ responded to and utilized these new digital technologies. I analyze demonstration texts, promotional videos, and feature films, including Pleasantville, O Brother Where Art Thou, Star Wars: Attack of the Clones, The Anniversary Party, Personal Velocity, and Collateral, all of which played a role in establishing a discourse and practice of digital cinematography among cinematographers, producers and directors. The challenges presented by new collaborators such as the colorist and digital imaging technician are also examined. I discuss cinematographers’ work with standards-setting groups such as the Society of Motion Picture and Television Engineers, Academy of Motion Picture Arts and Sciences, and the studio consortium Digital Cinema Initiatives, describing it as an effort to protect “film-look” and establish look-management as a prominent feature of their craft practice. In an era when digitalization has made motion pictures more malleable and mobile than ever before, this study shows how cinematographers attempted to preserve their historical, craft-based sense of masterful cinematography and a structure of authority that privileges the cinematographer as “guardian of the image." / text

The aim of the research is to develop a brief for the design of a proposed Centre for Indian Music in Durban. The relevance of such a centre would be established by analysing the history of music in India as compared to the Indian music evolution in South Africa. The effects of imperialism and colonisation had significant impact on the practice and learning of music in both countries. Such political institutions also had great influence on the spaces where music had been performed. Indian music is unique and differs quite significantlyly from Western muslc. A comparison of Indian music (movement through time) and the architecture of Indian music to Western music would provide valuable clues to the quality of space and movement through space In Indian architecture. The theory review analyses the integration of pragmatic functional requirements of the building program with the metaphysical and symbolic qualities of space that are characteristic of Indian traditional architecture. Such architecture would be analysed with reference to its relevance in the context of Durban. Any cultural place ought to transcend mere functional requirements and should be rich in symbolism and metaphor. Both natural and spatial archetypes add to the symbolic quality of space and place. Critical regionalism would hence be reviewed. Urban design theory would be essential as the Centre for Indian Music in Durban would be located adjacent to a rich cultural precinct on one end and totally vacant and abandoned sites on the other. The need for urban design and intervention would propose appropriate development of the vacant sites whilst Linkages to other cultural facilities would be established within the City's rich cultural landscape. Acoustic principles would be analysed in order to design effecient rooms and spaces to facilitate music performance and production. Precedent studies of similar buildings by renowned architects would be critically analysed against their symbolic and contextual relevance. Case studies of South African musIc facilities would provide useful design and technical data. The siting of the building would be borne out of a thorough analysis of various sites against a predetermined set of site selection criteria. The resultant formulation of a brief would be the outcome of the research undertaken. / Thesis (M.Arch.)-University of KwaZulu-Natal, Durban, 2008.

This thesis develops a relational geography perspective on creative work and practice, with a specific focus on the recording studio sector. Drawing on an extensive social network analysis, a questionnaire survey, and nineteen semi-structured interviews with recording studio engineers and producers in London (UK), the thesis reveals how recording studios are constituted by a number of types of relations. Firstly, studios are spaces that involve a material and technological relationality between studio workers and varied means of production. Studios are material and technological spaces that influence and shape human actions and social inter-actions. Secondly, studios are sites of relationality between social actors, including engineers, musicians and artists. The thesis reveals how the ability to construct and maintain social relations, and perform emotional labour , is of particular importance to the management of the creative process of producing and recording music, and to building the individual social capital of studio workers. Finally, the thesis argues that studios are sites of changing employment relations between studio workers and studio as employer. In the recording studio sector, a complex and changing set of employment practices have re-defined the relationship between employee and employer and resulted in a set of employment relations characterised by constant employment uncertainty for freelance studio workers. It is argued that the three types of relations revealed in this thesis, manifest at a multiplicity of geographical scales, construct recording studios as distinctive social and economic creative spaces. In conclusion, it is argued that a relational perspective is central to progressing geographical accounts of creative work and of project-based industries in general.

Submitted by RAFAEL GUIMARÃES PEDROSO null (rafael@tvu.unesp.br) on 2016-04-05T20:10:33Z No. of bitstreams: 1 Dissertação - Interação com objetos digitais 3D.pdf: 3377799 bytes, checksum: 711e5e4a1ddfb59c95c882bd1c4d136f (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-04-07T16:16:41Z (GMT) No. of bitstreams: 1 pedroso_rg_me_bauru.pdf: 3377799 bytes, checksum: 711e5e4a1ddfb59c95c882bd1c4d136f (MD5) / Made available in DSpace on 2016-04-07T16:16:41Z (GMT). No. of bitstreams: 1 pedroso_rg_me_bauru.pdf: 3377799 bytes, checksum: 711e5e4a1ddfb59c95c882bd1c4d136f (MD5) Previous issue date: 2016-02-05 / O estúdio virtual é um sistema para a criação de cenas com objetos virtuais integrados digitalmente – e em tempo real – a imagens capturadas em estúdio. Seu emprego flexibiliza a produção audiovisual, permitindo a utilização de objetos e efeitos difíceis de serem recriados fisicamente. Diferente da forma clássica de produção, em que os efeitos são inseridos somente na pós-produção, o estúdio virtual insere o conteúdo digital na fase on set, facilitando direção e fotografia. Considerando este contexto, o objeto deste trabalho é a interação de atores com objetos virtuais utilizando técnicas de Realidade Aumentada em estúdios virtuais. O objetivo principal deste trabalho consiste na verificação da interação de atores com elementos virtuais 3D sob dois aspectos: o primeiro trata da aplicação de técnicas baseadas em interfaces tangíveis associadas ao uso de marcadores fiduciais; e o segundo foca-se na utilização da interação via gestos por meio de dispositivo de detecção de profundidade (Kinect). Para a comprovação do segundo aspecto procedeu-se na implementação, na forma de um protótipo, de um Módulo de Interação para o ambiente do ARSTUDIO, um ambiente de estúdio virtual que está em desenvolvimento na Unesp/Bauru, o qual permite a geração de cenas com Realidade Aumentada e associação de objetos virtuais por meio de marcadores fiduciais. / The virtual studio is a system for creating scenes with digitally integrated virtual objects - in real time - to images captured in the studio. Its use eases the audiovisual production, allowing the use of difficult physically rebuilt objects and effects. Unlike the classic production process, in which inserted effects just in post-production, the virtual studio inserts the digital content in the on set phase, facilitating direction and photography. Considering this context, the object of this research is the interaction of actors with virtual objects using Augmented Reality techniques in virtual studios. The main goal is to verify interaction between actors and 3D elements under two aspects: the first is about the application of based tangible interfaces and markers techniques; and the second is about gesture interaction by depth camera device (Kinect). To prove the second aspect it was made the implementation, in prototype, of a Interaction Module for the ARSTUDIO, a virtual studio environment under development in Unesp/Bauru, that allows generating of Augmented Reality scenes and association of virtual objects with markers.

Sherlock Holmes har adapterats till film i över hundra år. Syftet med den här uppsatsen är att genomföra en studie om adaptioner av Sherlock Holmes romanen The Hound of the Baskerville har anpassats för sin samtid mellan 1939 och 2012. Analysen utgår därmed ifrån Sidney Lanfields adaption ifrån 1939 med Basil Rathbone, Terence Fishers adaption ifrån 1959 med Peter Cushing. Slutligen TV-serien Sherlocks adaption ifrån 2012 med Benedict Cumberbatch i rollen som Holmes. Den grundläggande teorin för uppsatsen är adaptionsteori, för att få fram hur Sir Arthur Conan Doyles roman har ändrats och anpassats för att bli lämplig för sin samtida publik. Analysen är uppdelad i tre kapitel, i vilka olika delar av det som har adapterats analyseras. De olika kapitlen handlar om filmskaparna har omarbetat och tolkat Doyles roman för sin samtid? Har de tolkat och omarbetat de kvinnliga karaktärerna för sin samtids publik? Har Sherlock själv utvecklats mellan de tre adaptionerna? Slutsats omfattar sedan en diskussion om uppsatsens resultat, baserad på Linda Hutcheons teori om adaption. / Sherlock Holmes have been adapted to film for over a hundred years. The purpose with this essay is to conduct a study of how adaptations of the Sherlock Holmes novel The Hound of the Baskervilles have been adjusted between 1939 and 2012, to make the story more appropriate for their contemporary audience. The analysis is based on Sidney Lanfields 1939 adaptation with Basil Rathbone, the 1959 Terence Fisher adaptation with Peter Cushing and the 2012 adaptation for the TV series Sherlock. The Essay is based in adaption theory, to determine how Sir Arthur Conan Doyle’s novel has been changed and adjusted to make the story more appropriate for the contemporary audience of the adaptation in question. The analysis is divided into three chapters, which examines different aspects of what has been adapted. The different chapters analyze how the filmmakers have reworked and interpreted Doyle’s novel for their time, how they have interpreted and reworked the female characters and how Sherlock himself has evolved between the three adaptations.

Submitted by GUSTAVO LUIZ DOS SANTOS DEWES (dewes.design@gmail.com) on 2018-04-13T23:56:07Z No. of bitstreams: 1 Dissertação Gustavo Luiz dos Santos Dewes (FINAL).pdf: 5031307 bytes, checksum: 554f1b60113993fe2305705fc8adaf06 (MD5) / Approved for entry into archive by Minervina Teixeira Lopes null (vina_lopes@bauru.unesp.br) on 2018-04-16T18:57:57Z (GMT) No. of bitstreams: 1 dewes_gls_me_bauru.pdf: 4733392 bytes, checksum: aae3c324824187ed659b0d18ee5eb0ac (MD5) / Made available in DSpace on 2018-04-16T18:57:57Z (GMT). No. of bitstreams: 1 dewes_gls_me_bauru.pdf: 4733392 bytes, checksum: aae3c324824187ed659b0d18ee5eb0ac (MD5) Previous issue date: 2018-03-15 / O objetivo deste projeto é relatar a experiência da produção de um programa educativo/esportivo para ensinar o skate. Dessa forma foi criado um Objeto de Aprendizagem (OA), que se apoia na internet como plataforma de circulação e divulgação. O conteúdo deste AO visa ensinar as bases do skate, explicando a nomenclatura do esporte, com o subsídio de efeitos visuais inseridos em tempo real por meio da Realidade Aumentada (RA) e dos conceitos teóricos do Edutretenimento, que consiste em criar um ambiente favorável que ensina entretendo. Este trabalho apresenta experimentos feitos com o ARSTUDIO, um sistema de estúdio virtual de baixo custo, em desenvolvimento na UNESP/Bauru e experimentos feitos com um sistema doméstico desenvolvido pelo pesquisador, ambos permitem a criação de cenas com RA, integrando ambiente e apresentadores reais com objetos virtuais tridimensionais. Como metodologia para a produção desta dissertação, foi realizada uma pesquisa exploratória em conteúdos acadêmicos convergentes do conhecimento e uma pesquisa participativa onde são apresentados relatos das etapas criativas de pré-produção, produção ,pós-produção e experiências da gravação e transmissão ao vivo com RA. Este projeto propõe ainda uma solução para que integrantes da cultura participativa da Internet possam gerar produtos audiovisuais a baixo custo, pelo uso da RA,e assim atender a produção de conteúdos audiovisuais educativos. Por fim, é realizado um ensaio comparativo das experiências e das técnicas utilizadas. / The objective of this project is to report the experience of producing an educational/sports program to teach skateboarding, in this way a Learning Object (LO) was created, which relies on the internet as a platform for circulation and dissemination. The content of this LO aims to teach the bases of skateboard, explaining the nomenclature of the sport, with the allowance of visual effects inserted in real time through the Augmented Reality (AR) and the theoretical concepts of Edutertainment, which consists of creating a favorable environment that teaches entertaining. This work presents experiments made with ARSTUDIO, a low cost virtual studio system under development at UNESP / Bauru and experiments done with a home system developed by the researcher, both allow the creation of scenes with RA, integrating environment and real presenters with objects three-dimensional virtual worlds. As a methodology for the production of this dissertation, an exploratory research was conducted on convergent academic contents of knowledge and a participatory research where the creative steps of pre-production, production, post-production and experiences of recording and live transmission with RA are presented. This project also proposes a solution so that members of the participatory Internet culture can generate audiovisual products at low cost, by using RA, and thus attend the production of audiovisual content. Finally, a comparative test of the experiments and techniques used is carried out.

Co-creation is a new approach to the development of videogames, films, television, music and other creative services. It is a manifestation of open innovation paradigm where the firm collaborates with customers in new service development (NSD) activities. Firm can either co-create with individual customers, or with customer communities. Customers may substantially contribute to ideation, design, production, testing, marketing or distribution of a new or existing service. Customer networks, because of their intrinsic and extrinsic motivations, contribute to the development of services. They have a potential to innovate, as their ideas come from the outside of the organization and reflect their need-related knowledge. Via co-creation a firm can also learn about unarticulated or future customer needs, and what kind of service features they would pay the most for. Co-creation has also benefits for marketing. By inviting customers to participate in their activities, firms can capitalize on positive word of mouth and increased value ascribed to their services. They can also engage in new models of raising finance, i.e. crowdfunding. We studied thirteen videogames firms in North America and in Western Europe. Our goal was to gain insight into their NSD activities when customers were also involved. We observed those studios’ co-creation practices, tracked their communications with customers, and spoke to employees in all levels and functions of those firms. We also participated in various related events. We identified three ideal types of co-creation practice: structured, semi-structured, and loose, and ordered the firms into three cases according to these types. We investigate the main factors that determine co-creation’s practice in firms, as well as firms’ ability co-create. This includes a firm’s propensity for and style of co-creation. We identify four relevant co-creation competences which, together with funding arrangements and organizational culture, influence co-creation. We find that co-creation can occur via formal, as well as informal channels. Informal co-creation takes place on the level of individual interactions between employees and customers (and is linked to hidden innovation), while formal relies on the strategic use of contests, volunteer programs, as well as other legally-regulated exchanges. Firms can use co-creation in NSD to source ideas from the customers, as well as to enhance their marketing by redefining customer relationship. Still, co-creation also has a profound transformative effect on the organization itself. We identify the sites within a firm that are affected by co-creation. Those sites go beyond just the content of the service, and include functions of the firm that normally are hidden from customers (back-end and service design functions). The new service development is also affected. Similarly, the way that firm interacts with its customers is transformed, too.

The subject of thesis is urban design of the Film Studios, its recovery, opening this area to the public, the use of film themes and to design the new functional use. The area, where the Film Studios have been built, is located in the city Zlín – Kudlov. The area has size of 10,11 ha and it is defined by the built-up area in the south, north and west and from the east street Vrchy. The area is crossed by street Filmová, which is divided into two parts, on the part of the bulit-up area of the Film Studios and the undeveloped part of gardening and unmanaged areas. The vision of the project is to revitalize the area using the new functional use, simplify transport structure and supplement the existing buildings by new buildings.

Diploma thesis addresses the new use of film studios in the city of Zlin – Kudlov. Solved territory is located about 2.5 km southeast of Zlin. The aim of the design was to create a functioning unit, which combines several functions, both existing and proposed. The resort is located on one of the highest points in the area with beautiful views of the surrounding area. In the area of film studios is therefore proposed tower, which is inspired by the film strip and dominates the area. Film studios are also associated with the emergence of the Zlin Film Festival. There is therefore designed pedestrian zone with squares for cultural events and exhibitions related to film themes. The proposal seeks to create a living organism that would be returned to the film studios lost life.

This final diploma thesis deals with revitalization of Film studios in Zlín and its surroundings. On the west from solved area is forest cemetery and residential complex Fabiánka. Areal of the Film studios is from residential complex Fabiánka separated by terrain depression. The Film studios in Kudlov which is situated near to Zlín was established in thirties of last centrury, their strong side is interesting history, the natural environment and good availability from Zlin. The theme of the Film survived in the area to the present days, there are film laboratories and film secondary school. Some objects are rentes as office space, there is Zlín radio and on the northeastern part of the area is situated pharmaceutical production. The main new function witch is design is housing in apartment buildings which are completed by offices and public services witch is situated around film pedestrian zone. There is designed a new sports complex and film park with forest amphitheater, therefore it can be used by general public. In areal are functions for all age category.