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Digital tools for correction of image in postproduction
Daliman, Tomáš ; JÍCHA, Marek (advisor) ; SMUTNÝ, Vladimír (referee)
Formats and videocodecs, Bayer mask, introduction to color spaces, reference color spaces, working color spaces, 1D LUT vs 3D LUT, Color management introduction, hardware based systems for color grading, software systems for color grading.
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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.
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Cameras for digital cinematography, specifications and quality measures
Polách, Martin ; JÍCHA, Marek (advisor) ; KOŠŤÁL, Emil (referee)
This thesis is about essential digital cameras and technologies, which are used by directors of photography for shooting feature films, commercials and television content. I focused mainly on cameras, that are available to the public in your 2012, which are for example Arri Alexa, RED EPIC, Sony F65, Phantom FLEX, Phantom 65 and few more semi-professional cameras. In my thesis I also look back on the beginnings and history of digital cameras from 1990?s, when first cameras emerged that were at least able to compete with film negative, and on the development of second generation of digital cameras as Panavision Genesis, Arri D20-D21 and RED ONE. Part of my work is also devoted to technical properties and specifications, which are required from current high-end cameras.
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Cinematographers of czech documentary film
Šuster, Jan ; Jícha, Marek (advisor) ; Ulver, Stanislav (referee)
In my dissertation I focus on the professional, as well as on the personal, points of view of various documentary cinematographers and on the complexity of the image conveyed in the works of audiovisual documentaries.
Through the eyes of four generations of directors of photography, I seek to compose a holistic view of the Czech cinematography.
In the introduction the history of Czech documentary films is briefly outlined. The following chapter is composed of personal interviews with the four cinematographers. These professionals were chosen according to their experience with documentary films and their contribution to the Czech cinematography in general. Each one of these four professionals has a notable character which has, among their distinguished camera work, left an enduring mark on the quality of cinematographic image.
The questions directed to them are the same, thus aiming to point out a multi-generation view on the issue of camera work in Czech documentary films, as well as on the characters of the cinematographers themselves.
To conclude my dissertation I compare and contrast various attitudes toward the camera work in documentary films. By introducing my personal opinion and confronting with the ideas presented by these four generations of professionals, I aim to express the point of views of the new, fifth, generation of cinematographers.
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The Women of Czech Cinematography
Kostková, Jaroslava ; Šofr, Jaromír (advisor) ; Jícha, Marek (referee)
This work deals with women, who have gone down in the history of Czech cinematography as its camera-women. It provides a list of all female graduates of the Camera Department at FAMU and through personal interviews and personal correspondence between the author and camera-women it uncovers the main topics, which have resonated the strongest in the lives of these women. It also offers, in the form of profiles, the newest information on their careers, and it speaks about their current whereabouts.
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Cinematographers of Czech Fiction Films
Kaboš, Michael ; Jícha, Marek (advisor) ; Ulver, Stanislav (referee)
Cinematographers of Czech Fiction Films: Searching for Identity is a dissertation about the importance and influence of cinematographers on Czech cinematography. The work is composed of authentic memories and experience of individual personalities - cinematographers. Their testimonies are confronted with the historical sources, which form an important part of the historiographical part of the work. The main topics are: searching for inspiration and creating the concepts of ideas, the way of transformation of reality and subject, definition of importance of cinematographer´s identity due to the individuality of each author in correlation with the director.
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Creative Use of Digital Intermediate During the Production of Light Atmosphere
Janda, Marek ; Weiser, Antonín (advisor) ; Jícha, Marek (referee)
The goal of the thesis is to sketch out the creative use of the digital intermediate in the cinematographer. Recent technologies among them also belongs digital intermediate bring new work opportunities and possibility to change the light atmospheres in the digital postproduction. At the beginning there are mentioned the atmospheres in the painting, in the photography and in the film. Further are described the types of inputs for processing the image, sorts of film transfers, scanners and outputs. After comes the prostroduction process (with the picture examples) which is focused on postproduction equipments, digital composition, rigs, color grading and image editing. There is given the description of the technology of film recording and the issues connected with digital cinema and the archiving.
In the conclusion of this work, there are reminded the classical film technologies, perspectives of digital intermediate use in the creative work of a cinematographer and the future and film development trends are sketch out.
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