Introduction
Film and video are expressive and a genuine form of media for communication and entertainment, but the profound cost and struggle of obtaining, manipulating, and distributing these media has been vastly limited due to the fact of production to the domain of Hollywood. Recently, however, as technology is constantly developing and getting a lot cheaper cameras, bandwidth, and memory/storage has become gradually affordable, an extensive field of users produce digital video in mass production volumes. Unfortunately, existing methodologies interacting with digital video have not been able to keep up with the flood of raw material. Although skilled methods such as: searching, browsing, annotating, and editing video material are far too complex and often lack the juxtaposition of interactivity essential for novice users.
In this dissertation, I will present an outline for video annotation, visualization, and interaction that binds computer vision to assist users in creating and perceiving digital video. I will debate a series of related projects that state some of the precise tasks collective to various video applications. These projects focus on the complications of video object annotation, motionless visualization, and chronological navigation within a video clip.
1.1 Encounters of video
Video is a fundamentally difficult medium to grasp because its temporarily fluctuating nature cannot be caught in a single instant. In video editing software designed for specialists, video is signified using individual frames, but unpremeditated authors and consumers of digital video do not want the hassle to be concerned by the unintuitive perception of video frames. Instead, they are more attentive in the higher level peripher...
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...egment of the sequence, and comes to terms with his surroundings in which men are running out of the boats which are blazing with fire, men are also being constantly shot at, at this point being as close as possible to the floor would be the best option. The cameras movement in this sequence tend to be fast paced pans swinging from left to right at a fast pace, in order to keep up with the momentum of the movement from the soldiers. When again there are no crane shots, dolly shots, or aerial shots being used, decided that the camera will most definitely move but the camera has been held by the cameraman. However a steady cam has not been used because obviously the movement within the scene is not steady. Also there are sudden upward and downward tilts, once again because in war everything is very sudden; therefore this brings out even more realism within the film.
The spectacular qualities within the contemporary films that use VFX became progressively important to Hollywood. The popularity of the ever growing special effects has been increased by a growing demand for products in different multimedia forms such as computer games, theme-park rides and many other secondary outlets that frequently generated more profits then the films they were based on.
Oliver Stone also uses techniques to imply confusion, such as when the platoon are attacked in the jungle scenes; the camera frequently changes perspective (from long-shots to close-ups) as well as focus, and is often jolting suddenly as if it is from the perspective of one of the soldiers running.
Hundreds of movies are released every year. Filmmakers try to create the next jaw-dropping movie that audiences will stand in line for hours and pay top dollar to see. The key to success is finding ideas that appeal to a mass audience. Viewers are the lifeline of any production company so making something for everyone is a savvy business move for the film industry. To cover all bases, there are over fourteen different genres of movies. Film making is not a solo effort. It is a collaboration between the actors, directors, producers and other key contributors. This combined effort or mise-en-scene includes all the elements of the film to include actors, backdrops, costumes, props and lighting used to meet the director’s vision (Goodykoontz & Jacobs, 2011, Sec 3.2). This paper will discuss the elements of a movie clip entitled “You Can’t Handle the Truth” from the movie A Few Good Men.
Can color invoke viewers with a certain mood to advance the plot of a video? When a video uses imagery does it in fact create a better video? Is a video’s concepts improved when it applies complex metaphors to help readers visualize subjects difficult to grasp? Animators for Blank and Blank use all of these unique tools to improve the journey on which the audio takes them. Sadly, there are a few cases where they inappropriately use visuals, which can cause some confusion to the viewer. The animators uses color, imagery, and complex metaphors to build a beautiful immersive experience for the viewer.
Berliner, Todd and Cohen, Dale J. "The Illusion of Continuity: Active Perception and the Classical Editing System." Journal of Film and Video 63.1 (2011): 44-63. Project MUSE. Web. 14 Feb. 2011. .
Due to the film’s quality and interest it became an award winning film. The film had excellent sound effects such as the battle scenes. The image quality was also outstanding; it used many different angles to depict the actor to make you feel involved in the scenes. In the action scenes the most common viewpoint used was a close up shot which allows the audience to see and feel the intensity of the scene. The second viewpoint mostly used was a tracking shot due to the actors c...
In this article, Jones discusses the marginalization of motion pictures, yet touches on the great aspects of film, and how these aspects can expect to survive in the future. Major topics that Jones addresses are: developments in video narrative through flawless storytelling, the use of digital tools for film restoration and preservation, and an audience shift from film to digital. These points detail the love and appreciation that goes into filmmaking, and how the narratives, despite having changed formats throughout the years, have been able to survive and appear to be timeless. Jones also further discusses the idea of using audiovisual material to create narratives appealing. He details how the stylistic approach of a film, and the techniques like cinematography and editing, can enhance and provide for a greater narrative. In summary, the sum of the parts of a film are what make the entire experience, which not only makes for a great film, but for a lasting story as
Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 5th ed. New York: The McGraw-Hill Companies, 1997.
It is very important how you put things up on the screen. It tells the viewer what the movie is about. Every single frame in a movie tells the fate of the characters.
Director Max Ophüls is known for his distinctive smooth camera movements (Liang, 2011, p. 2). Frame mobility keeps the audience focused on the subject (Bordwell and Thompson, 2008, p. 203), and this can be seen in this shot. Due to the camera tracking Lisa and Lieutenant Leopold after they enter the frame, the audience’s attention stays focused on Lisa and Lieutenant Leopold, even thoug...
Shah, Chirag. “ContextMiner: Supporting the Mining of Contextual Information for Ephemeral Digital Video Preservation.” International Journal of Digital Curation 4, no. 1 (2009): 175-192. http://ijdc.net/index.php/ijdc/article/view/111.
Reisz , K. & Millar, G., 2010. The Technique of Film Editing. Oxford: Taylor & Framis.
...have already begun to see – more as a means to playful firing visual fascination. The opposition of realistic film visual culture and non-narrative montage tradition has begun to breakdown. It is leading towards hybridization of realistic and stylized editing. Thus at one extreme there is a montage phenomenon of music video and on the other hand the editing technique of traditional cinema comes together. Montage is no longer a dominant aesthetic according to the new computer culture, as it was throughout the twentieth century, from the avant-garde of the 1920s up until postmodernism of the 1980s. New editing techniques like composting has emerged which combines different spaces into a single environment seamlessly creating a virtual space. Compositing is an example of the alternative aesthetics of continuity and it is considered counterpart of montage aesthetics.
The purpose of this research assignment is to put forward a convincing argument in how digital technology in the last four years have completely revolutionised the whole film industry. This thesis will attempt to focus on the main disciplines of film making and the impact that technology has had on each area. Firstly, this article will look at recent changes in the pre-production area of film making followed by what new equipment and storage facilities are being used during film production. Next is arguable the biggest transformation in the film industry as a result of technology, namely the post production stage. New methods of film distribution are explored followed by the negative impact that technology has had on the film industry with the main focus being on the illegal distribution of copyrighted film footage. New ways in post-theatre film distribution is also explored and the impact that continual break-through technologies are having on the education and training of professionals working within the film industry. Finally an examination of the impact of computer generated graphics on the film industry is concluded by a brief discussion on what the future may hold for the film industry.
Boggs, J. & Petrie, J. (2008). The Art of Watching Films. New York, NY: The McGraw-Hill Companies. p. 2-463.