Diplomové práce / Master's theses

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Browsing Diplomové práce / Master's theses by advisor "FUXJÄGER, Klaus"

Now showing 1 - 5 of 5
  • Black and White Cinematography in the Digital Era
    Burgos Barbosa da Silva, Guilherme
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2017)
    Date of thesis defence: 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)
    Date of thesis defence: 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)
    Date of thesis defence: 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?
  • The Art of Static
    Barry, Evan
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2018)
    Date of thesis defence: 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 Use and Significance of Slow Motion in Film
    Waghmare, Sourabh
    (Akademie múzických umění v Praze.Filmová a televizní fakulta, 2016)
    Date of thesis defence: 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.