|
| |
|
|
Impact of Digitalization on Film Production
Vach, Tomáš ; JÍCHA, Marek (advisor) ; DANIELIS, Aleš (referee)
This Thesis, named "Impact of digitalization on film production" describes and asesses new technological infulences, which are changing the filmamaking process in various ways by the phenonmenon of digitalization. Specific chapters are dedicated to following topics: comparison of digital cameras from first and second generation and their specific characteristics, 3D phenomenon, transformation of recent distribution, and digitalization of archives. The conclusion is dedicated to the technological development and outlook of future. The thesis is essentially an introduction to the current view and evaluation of digitalization impact from an artists perspective as described by distributors, film makers and the end user.
|
|
|
Sven Nykvist and his work with light
Kainrathová, Edita ; ŠLAPETA, Ivan (advisor) ; JÍCHA, Marek (referee)
The subject of my thesis is the work of the cinematographer Sven Nykvist. The
center of the work is the subject of light, its analysis, its meaning and use in a
film`s story. In the conclusion of my work I mention his worldwide success.
Based on his biographical data I attempt to look into his personal life, and on a
more general level, I consider the theme of creative work versus personal and
family life.
|
|
|
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.
|
|
| |
|
| |
|
|
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.
|
|
|
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.
|
|
|
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.
|
|
|
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.
|
guest ::
RSS feed.