Diplomové práce / Master's theses

Permanentní URI pro tuto kolekci

http://hdl.handle.net/10318/195

Procházet

Procházet Diplomové práce / Master's theses podle oponent "GUNARATNA, Vidu"

Nyní se zobrazuje 1 - 5 z 5
  • 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.
  • Expanded Cinematography
    Dimoski, Vladimir
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2017)
    Datum obhajoby: 2017-06-07
    The cinematography as an art form stands today at a crossroad. There is a lot of controversy surrounding the definition of the term “cinematography” in the context of films in which traditional (lensed) cinematography was subordinated to virtual techniques, such as “The Matrix”, "Life of Pi" and "Gravity”. The following study will observe the historical development of the camera techniques, as its goal is to verify if the virtual cinematography is a step forward in the evolutionary road of the job of the director of photography. In order to seek for the truest answer, the study will analyze the work of the cinematographers of the above-mentioned feature movies, in terms of their collaboration with the visual effects supervisors and their creative team. The study will try to convey how the DoP’s have used the new skills to help support the dramaturgy of the screenplay.
  • The Cinematography os Santosh Sivan
    Venkateswara Sridhar, Bargav
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2019)
    Datum obhajoby: 2019-09-26
    This research looks at the work of Santosh Sivan, one of the most renowned Cinematographers from India. By analyzing some of his works we can identify his visual styles and understand his approach behind creating the images in his career spanning 40 years.
  • Wedding Films as an Emerging Genre
    Sen, Tiyash
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2016)
    Datum obhajoby: 2016-06-22
    Wedding traditions and customs vary greatly between cultures, ethnic groups, religions, countries, and social classes, which makes the wedding a diverse and unique experience from almost every point of view. The analysis of tehcniques and aesthetic styles, paying special attencion to color and other visual narrative elements, is ides to argue that wedding films should be considered a new genre, as a new and unique way of filmmaikng.