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AUDIOVISUAL POST-PRODUCTION IN ADOBE AFTER EFFECTS
Švejkar, Jan ; SUK, Aleš (advisor) ; Štěpánek, František (referee)
What motivated this paper was an obvious hunger of fellow students from the editing department to explore possibilities of the Adobe After Effects program. My work aims to map and explain tools that the AAE program offers to the user working in the field of an audio-visual media postproduction.
First part of my paper introduces the working interface and the structure of the application, while the second lays down the basic work methods. In the third part, I will look closer at selected workflows and several case studies that will provide an insight into the most frequently used functions.
This work does not aim to make a complete coverage of the AAE functions. As a student of the editing department, I have selectively explored functions I find most important and enriching. After reading this paper, an editor will be able to work on touch ups, masking, image stabilizing, colour keying, will be able create animated titles, animatics and do other postproduction work that couldn't be done with the usual editing programs.
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Image naturalness as a criterion in cinematography
Belica, Ondřej ; MAREK, Diviš (advisor) ; MACÁK, Jiří (referee)
The purpose of this thesis is to search into methods of image stylization in feature films and silver screen reality transformation. We try to define fundamentals of "natural" image as a common aproach of cinematographers work. Also we summarize styzalition means used by cinematographers all over the world in history and present time in realationship to normal perception of visual reality. Part of the thesis is dedicated to eye-tracking study concentrating on human visual attention to selected artwork pieces
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Light sources and their use in cinematography practice
Pavelek, Tomáš ; ŠPELDA, Josef (advisor) ; MACÁK, Jiří (referee)
This thesis is written in the genre of manual with reflection of a problem and focuses on the importance of light as one of the main aspects of filmmaking and as a main tool for creation of an atmosphere. That are examples of the key expressions, which are used and described in the text: light ratio, light as a source of shadow, characteristic of the light, light perspective, color temperature, reflectance, skin tone, light design for film stock and digital camera. In order the problematic of lights sources with different color temperature is presented, so as the aspects of shooting low light chiaroscuro atmospheres, Inverse-square law usages, light source as a part of the frame, shooting in small scale locations and shooting with multiple cameras.
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The Use of LED Light Sources in Film and TV Lighting Technique
Brožek, Marek ; SMUTNÝ, Vladimír (advisor) ; MACÁK, Jiří (referee)
The purpose of this thesis is to provide a comprehensive overview of LED lighting equipment development and current trends in film and TV industry .
The thesis is divided into two parts. The first focuses on historical outline, physical and technical parameters of LED and also provides glossary of related terms.
The second part covers an overview of the development of LED technological solutions in manufacturing of film and TV lighting equipment, highlights their advantages and disadvantages, points out eventual problematic moments in using of LED lighting and presents the latest innovations of world leading manufacturers.
The conclusion sums up a general reflection on the future of LED technology.
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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.
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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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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.
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Filming underwater
Dvořáček, Šimon ; BRABEC, Jaroslav (advisor) ; HYNEK KRÄMER, Kristian (referee)
The topic of this thesis is "under water shooting ." Text deals with the theoretical and practical problems associated with underwater filming. Given the empirical type of the thesis, the text focuses on the personal experience gained during the filming of underwater scenes of Menandros & Thais movie, I worked as director of photography for. All the experience I gained during the preparation and the actual filming should be benefit to those who will in the future address this issue.
The first part of the thesis is a brief history and theory of diving. It describes development of diving equipment from the the beginning until today and explaines the theoretical minimum for underwater filming.
The second part is a description of underwater battle to the detail, where I worked as a director of photography on the preparation, implementation and finalization. This chapter is divided into five parts. The first part deals with the initial concept of underwater scenes. The second part describes the preparation for filming. The third and fourth parts deal with the implementation from rehearsals up to filming. The last, fifth part focuses on the reflection of the underwater scene. Here I outline what was brought to the reality from the concept.
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