Katedra kamery - KK / Department of Cinematography

Permanentní URI pro tuto komunitu

http://hdl.handle.net/10318/25

Procházet

Procházet Katedra kamery - KK / Department of Cinematography podle vedoucí "FUXJÄGER, Klaus"

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  • 19.9
    Adam, Stanislav
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2016)
    Datum obhajoby: 2016-09-19
    Tato bakalářská práce se zabývá studií osvětlovacího systému Cine Reflect Lighting System a jeho schopnosti přistupovat k osvětlení scény zcela odlišným způsobem. První část práce shrnuje výhody a nevýhody zrcadlových systémů, čímž může pomoci kameramanům při volbě správné osvětlovací technologie snímaného filmu. Druhá část bakalářské práce je zaměřena na použití CRLS ve filmech Michaela Hanekeho, zejména v jeho dobovém snímku Bílá Stuha (2009).
  • Black and White Cinematography in the Digital Era
    Burgos Barbosa da Silva, Guilherme
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2017)
    Datum obhajoby: 2017-06-07
    I want to understand why B&W filmmaking is appearing as an artistic form in contemporary times, and how these films are being made technically. To explore the technology currently being used, I will create a test and examine results of the same scene filmed with RED color, RED bw, ARRI color, ARRI bw and Double X. I plan to analyze raw images for comparign first characteristics, then apply color grading to get final b&w results.
  • Cinematography in the Colombian Amazon
    Mahecha Castaneda, Carlos Mario
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2019)
    Datum obhajoby: 2019-09-26
    The present research intends to go through significant contemporary productions done in the Colombian Amazon Rainforest in a time where historical changes are driving the country towards very difficult decisions. In this context, the cinematographer as an artist has a responsibility with his or her culture and society where technological choices are absolutely bounded with the motives of the craft and the construction of an embracing identity that can fit all the post colonial miscegenation. Is the jungle a place to protect and leave untouched? Is it there for the cinematographer with the tools of the profession to exploit its imagery? To whom is the author talking and what is his or her aim with the piece done, particularly in a place with millenary cultural heritage and one of the most important, if not the most, ecosystem in the earth to fight climate change. Technology becomes as an aesthetical and ethical decision as the place where the camera is placed.
  • Cinematography in virtual reality
    Alam, Faraz
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2019)
    Datum obhajoby: 2019-09-26
    Virtual reality (VR), initially employed in the world of gaming, has been garnering significant interest among filmmakers. As an alternate method in filmmaking, VR has led to the emergence of the VR cinematographer who plays a major role in the new medium. Notably, VR cinematography remains a work in progress at this point, with challenges and opportunities related to this role, abounding. VR narrative filmmaking faces many challenges; from scripting, to lack of framing, to synchronizing the audience’s angle of viewing to the field of action, to film language and editing. VR films need to be considered as a non-traditional narrative medium because the goal here is to tell a story albeit with a more in-depth, spatial experience. Through VR cinematography technology and techniques, the viewer suspends belief and feels that he or she is actually in the setting the narrative entails. It is unto the director to choreograph different viewing experiences to a common goal. There is more choreography involved in scriptwriting and the film language. This study aims not just to highlight the creative and technical challenges faced by a Director of Photography working in a VR medium but also questions of how the role of a DoP is affected in VR fiction filmmaking with comparison to classical narrative filmmaking. Can we re-apply the established rules of filmmaking and if not, how does that affect the techniques incorporated by a cinematographer?
  • Evocative lighting strategies and engaging camera motion in Christopher Doyle's collaborations with Wong Kar-wai
    Bruch, Antoine
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2024)
    Datum obhajoby: 2024-02-07
    This thesis analyses the evocative and visually engaging approaches used by cinematographer Christopher Doyle in his collaborations with director Wong Kar-wai. To analyse Doyle’s distinctive approaches in diverse shooting environments, focus is placed on his lighting strategies and camera motion. The methodology consists of formal analysis, specifically comparing Wong and Doyle’s use of camera movements and lighting strategies to evoke visual moods and engage the audience in the diegesis. A narrower focus is placed on Doyle’s deliberate use of coloured lighting strategies and handheld camera movements. The assessments are supported by information from previously published theories and observations on lighting, colour, and camera motion. The analyses focus on feature films that highlight Wong and Doyle’s bold and versatile visual approach, namely: Chungking Express (1994), Fallen Angels (1995), and In the Mood for Love (2000). The results suggest that the engaging qualities of Doyle’s camera movements originate in the narrative functions that the camera movements fulfil. The evocative aspects of Doyle’s lighting strategies are varied and include conveying a three-dimensionality in a two-dimensional medium, evoking moods through aesthetics of unfamiliarity and evoking visual moods that are congruent with the mood implied by narrative content. Resulting from a certain necessity, Wong Kar-wai and Christopher Doyle’s filming approaches imbue their work with audacity and innovation within the filmic spaces set in colourful Hong Kong.
  • Evoluce estetiky osvětlování v průběhu desetiletí: Robert Elswit
    Dameska, Dona
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2024)
    Datum obhajoby: 2024-09-12
    Záměrem této práce je představit estetický vývoj filmového osvětlení v průběhu desetiletí, v období mezi lety 1990 a 2019, a to v tvorbě kameramana Roberta Elswita. Metoda k dosažení závěru zahrnuje souběžné chronologické prozkoumání a porovnání opusu kameramana a také dominantních trendů filmového svícení v Hollywoodu jednotlivých dekád. Výsledkem práce by bylo stanovení odpovědí na otázky, jak se Elswitův přístup k filmovému osvětlení vyvinul z hlediska jeho individuálního uměleckého růstu a rovněž o tom, jak či zda byl ovlivněn změnami a trendy filmového průmyslu v průběhu daného období.
  • Odebráno
  • The Art of Static
    Barry, Evan
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2018)
    Datum obhajoby: 2018-09-27
    ABSTRACT This thesis The Art of Static: Ruben Östlund – Exploration Of Form, Function & Execution focuses on the minimalist visual language of the Director Ruben Östlund and his cinematographers Marius Dybwad Brandrud and Fredrik Wenzel. Östlund’s most recent work The Square (2017) being nominated for an Oscar for best foreign language film. This thesis focuses on how Östlund’s visual approach encapsulates his philosophy as a filmmaker through analysis and deconstruction of the visual language of individual scenes within three of Östlund’s films: Play (2011), Force Majeure (2014) and his latest work, The Square (2017). Its analysis focuses on his anti-Hollywood aesthetic, and how he avoids leading his audience’s emotional responses. The main features of which can be categorized into aesthetical choices around composition, perspective of the camera and shot duration in the context of his static language. These fundamental visual principals underpin his key visual motif of the “Observers Perspective” that is carried across all of his films. Bringing the filmmakers morality to the forefront through his characters, while also creating powerful and evocative pieces of work. Each chapter also discusses how this visual language implemented by him and his cinematographer’s has and is evolving across the body of his work. From one of ridged locked-off camera, to sequences containing tracks and fluid movement. Yet in his evolving visual language, Östlund manages to retain his principled philosophy visually and narratively.
  • The Future of Virtual Backgrounds in Filmmaking
    Lama, Riyana
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2024)
    Datum obhajoby: 2024-02-07
    This thesis undertakes a rigorous examination of the pivotal role played by Virtual Production (VP) and the integration of LED Projection Walls within contemporary filmmaking. VP, characterised as an innovative production methodology, signifies a dynamic departure from traditional film processes, affording unparalleled prospects for creative expression and effecting a transformative paradigm shift in the filmmaking workflow. The research conducts a nuanced exploration of the impact of VP on the cinematic landscape, accentuating its profound ramifications for creative autonomy, collaborative workflows, and the holistic filmmaking process. The incorporation of LED Projection Walls, a consequential technological component fundamental to VP, epitomises a revolutionary stride in cinematography. These immersive and interactive tools empower filmmakers to dynamically visualise and adjust scenes in real-time, thereby nurturing a vibrant and iterative creative workflow. Through a meticulous analysis of technological progressions, this thesis evaluates how VP, combined with LED Projection Walls, facilitates the seamless creation of realistic virtual environments harmoniously intertwined with live-action elements. The study delves comprehensively into the challenges and opportunities inherent in the widespread adoption of VP and LED Projection Walls, addressing their transformative imprint on the film industry and forecasting their indicative future trajectories. The immersive capabilities inherent in LED Projection Walls contribute tangibly to an elevated plane of visual storytelling, providing filmmakers the latitude to craft intricate and realistic scenes with heightened flexibility and efficiency. As the film industry undergoes this profound technological metamorphosis, the research provocatively contemplates the future prospects and evolving terrain of filmmaking. The fusion of VP and LED Projection Walls unfolds not merely as a response to contemporary narrative exigencies but also as a catalysing force for innovation, propelling the boundaries of creative expression within the cinematic medium. In essence, this thesis serves as an erudite exploration of the symbiotic relationship between Virtual Production, LED Projection Walls, and the evolving nature of filmmaking, furnishing insightful perspectives into their transformative potential and underscoring their paramount significance as integral components in the trajectory of cinematic innovation.
  • The Use and Significance of Slow Motion in Film
    Waghmare, Sourabh
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2016)
    Datum obhajoby: 2016-09-16
    I want to write about Slow Motion in film - how it began to be used and how its use has evolved in film, technical considerations for shooting slow-motion and possibly an analysis of scenes that have used slow motion for the impact these scenes made on the viewers.