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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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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
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Methods shooting sports
Ptáčník, Jaroslav ; HYNEK KRÄMER, Kristian (advisor) ; Trojan, Zdeněk (referee)
Head cameraman - function on live broadcasting - multicamera shootig, Description of the preparation of multi-camera shooting a television sports coverage.
The distribution of camera positions in the athletics grounds, football pitches and sport halls - hockey and martial arts. The layout and scanning angles of the cameras. Shooting preparations of the motor racing and winter sports. Construction of camera towers and incorporating them into the shooting scene. Comparison of the technologies used in the Czech Republic and in the world. Wireless transmission of images used for long distance - a general description of the technology. Technology equipment and OB van HDTV description. Stereoscopic shooting and preparation for broadcasting in UHDTV2.
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The light atmosphere in the film and the visual image
Hubač, Jan ; BRABEC, Jaroslav (advisor) ; KOBLOVSKÝ, Petr (referee)
In my diploma thesis I?m attempting to understand light in its various forms. The main goal of this thesis is to explore particular connections, but also differences within the framework of atmospheric lighting construction in film and art images. The first part of the text provides a summary of information about light itself, its perception, dispersion and its influence on the human psyche. It also addresses light and the construction of atmospheric lighting in several historical periods of fine art and cinematography.
The following chapters focus on light composition construction as viewed by camera-men. An analysis of a selection of films is used to present specific cinematographic methods, especially those dealing with light. The final part of this thesis explores the work of film artists who were inspired by paintings in which the determining feature was the original artist?s usage of light and atmospheric lighting.
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T'ai chi ch'uan and the art of handheld camera
Šípek, Jan ; JANEČEK, Vít (advisor) ; ŘEZNÍČEK, Martin (referee)
Chinese martial art t'ai chi ch'uan emphasizes the skills of stability of the body, smoothness of movement and especially of walk. This thesis asks a question, whether the techniques of t'ai chi are usable in handheld camera work. In the introductory essay part the author subjectively interprets the elements of both Chinese thinking and the art of t'ai chi, to the degree he had opportunity to explore. In a enquiry among Czech documentary cameramen he tries to find links with the oriental praxis, and, finally, in the last part, he introduces a set of practices of t'ai chi, usable for camera work.
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Shooting narrative films with only available light
Milota, Lukáš ; ŠOFR, Jaromír (advisor) ; MACÁK, Jiří (referee)
This thesis describes the topic of shooting a narrative film without the use of film lighting.
The first part describes the topic in its general outlines and defines the various terms related to shooting in available light. Explores the motivation of other artists to choose this way of working and their subsequent style of work during the shooting. I also mention some film movements that are related to the topic.
The second part is a description of the preproduction, shooting and postproduction of my graduation film "A Night Too Young" . In this project I used the method without the use of film lighting.
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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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