National Repository of Grey Literature 30 records found  previous11 - 20next  jump to record: Search took 0.01 seconds. 
Problematics of Aspect Ratio
Rozo Rojas, Juan Pablo ; GAHUT, Michael (advisor) ; MYSLÍK, Jiří (referee)
I wil examine different formats os aspect ratio in order to discuss its impact on a film´s aesthetics and narrative
Shooting in low light
Lipský, Tomáš ; ŠEC, Martin (advisor) ; MYSLÍK, Jiří (referee)
In case of having the extraordinary artistic picture, which is not disturbing
Image sensors in use
Pospíšil, Petr ; MYSLÍK, Jiří (advisor) ; ŠEC, Martin (referee)
Summary and description of particular types of digital image sensors, their characteristics and application of this knowledge in cinematographer`s job.
Technical tools of picture stylisation
Todorov, Simon ; MYSLÍK, Jiří (advisor) ; JÍCHA, Marek (referee)
This bachelor these is focused on the problematic of picture stylization thru the technical aspect. The stylization itself is not the concern of these theses. This work only deals with the technical tools and there influence in the final picture. It contains two main parts - time of production and time of postproduction in which are written the primary points of the process and the technics cinematographers applies. The tools are described gradually combined with the problems which may appear during the workflow. For each problem there in an explanation of how does the final picture change. Their consequences are also described, such as the job of cinematographer and his role in present times. In this these is also explained, brief-ly, the procedures of shooting and postproduction, presentation and archiving.
Modern cameras in digital cinematography
Vlnas, Jan ; MYSLÍK, Jiří (advisor) ; JÍCHA, Marek (referee)
The bachelor thesis will focus on a comparison of the digital cameras currently most widely used both in professional cinema and in the area of low-budget projects.
Stereoscopy and the Cinematographer
Gunaratna, Vidu ; SMUTNÝ, Vladimír (advisor) ; MYSLÍK, Jiří (referee)
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.
Light sources and their use in cinematography practice
Adam, Daniel ; MYSLÍK, Jiří (advisor) ; ŠOFR, Jaromír (referee)
Theory of light-photometric units, color temperature, film lamp design - open face, fresnell; Lamps- bulb, HMI, fluorescent lights, LED, halogen lamps, ceramic, Dedolight, Jemmball, mobile applications, PocketLD, Helios
Digital Cinema and DCP
Votýpka, Vojtěch ; MYSLÍK, Jiří (advisor) ; JÍCHA, Marek (referee)
This thesis has choosed for a topic the digital cinema package workflow. And the possibilities of DCP presentation in nowdays modern DCI digital cinema. In the beginning, the tema is based on the general media theory and the development od visual mass media. Than it comes to very komplex observation of all the workflow and consistance with all of its aspects, which make any influence on the whole process of succesfull finalization and presentation of the audiovisual product in as most possible high quality. The thesis observes the aspects of digital cinema subjectivly and objectivly at once. It wants to describe all the problematics included. It just has the aim to explore the future problems and avoid what was done wrong in history. For instance try to avoid to accept some insufficient standards like in the case of past television technologies. The end of the film print needs to take more care about what we will have to watch in the future. The thesis aim to bunch of questin fit to digital high resolution screening 2K and 4K. Just switched for the old high developer 35mm one. There is a quite wide tolerance in DCI specification allowing decrease the quality od DCI theaters. It leads to semiprofessional theaters with unperfect setup of whole projection system. The cinematographer has to control the process once again from shooting with camera to screen from projector. We need to have the full control when transforming the binary code back to the screen to achieve perfect image. Very important part of this work is its practical part. The research made in 5 Prague Posthouses, who had got a special source sequence to test for DCP export as 2K container. The technical appendix can be found in DVD.part of the thesis.
Multiple camera setup in film and tv
Skriečka, Jan ; Polák, Petr (advisor) ; Myslík, Jiří (referee)
The goal of this thesis is to summarize all the multiple camera setup situations in motion picture imaging. I would like to point out, that multiple camera setup is not only a domain of TV series but besides the economic and time saving reasons, the multiple camera setups can bring some new qualities in feature films making as well.
3 D imaging and the illusion of space in the projection
Moulis, Ladislav ; Myslík, Jiří (advisor) ; Košťál, Emil (referee)
This Bachelor´s Thesis deals with the principle of 3D imaging and creating the illusion of space in the projection. It familiarises readers with spatial vision psychophysiology and with technical aspects of stereoscopic recording and performing. It further explains connectedness of the whole production chain from scanning to the stereoscopic projection. The thesis also provides summary of systems used in the cinema nowadays, its positives and negatives and provides its comparison. This Bachelor´s Thesis describes in detail the experiments where several model situations have been scanned and which have proved and revealed some rules, that may have been an useful guide for the preparation of shooting stereoscopic image.

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