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Current Technology Trends in Film Distribution and Their Development
Smrček, Tomáš ; VÍTEK, Petr (advisor) ; DANIELIS, Aleš (referee)
This diploma thesis named Current Technology Trends in Film Distribution and Their Development aims to provide a comprehensive overview of video, audio and other technologies currently used in film distribution. In the introductory chapter it summarizes the history of digitalization and its impact on the discussed technologies. The work then analyzes them from different perspectives: explains their technical principles, describes their evolution, focuses on their use from the perspective of filmmakers, producers, distributors and exhibitors, discusses their financial aspects and lastly focuses on their significance within home entertainment. In one chapter it also analyzes the use of discussed technologies in the Czech film industry. Finally the thesis reflects on the future of technology in cinematography and also determines directions that in the author's opinion cinematography will take from a technological point of view.
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Cine Reflect Lighting System and its use in films of Michael Haneke
Adam, Stanislav ; FUXJÄGER, Klaus (advisor) ; JÍCHA, Marek (referee)
This bachelor thesis deals with the lighting system Cine Reflect Lighting System and its ability to approach the lighting of a scene in a different manner. First part of this thesis summarizes advantages and disadvantages of mirror systems, which can be helpful for cameramen to choose the right lighting technology for their movie. In the second part of thesis I focus on CRLS usage in Michael Haneke movies, especially in his movie The White Ribbon (2009)
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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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Focus as a feature and a means of expression
Chlumská, Františka ; MACÁK, Jiří (advisor) ; SMUTNÝ, Vladimír (referee)
This bachelor thesis called ,,Focus as a feature and a means of expression'' inquires focused and unfocused image set in film frame or digital chip. Summarizes basic attributes of human eye, technical aspects and properties of film lenses. Goes in visual history of unfocused image and at the end summarizes psychological impression to spectator. Zooms in two possible points of view to this issue. To be educed in technical and also psychological aspects is fundamental necessity of Directors of Photography. This work is just basic text applied to given topic, nevertheless I hope it might help someone in his studies or professes.
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