Better Video through Digital Post-Production Techniques

1989 ◽  
Author(s):  
Thomas Kennedy ◽  
Bert Swackhamer
Keyword(s):  
Production Techniques ◽  
Post Production

Sustainable Ethnomusicology

2021 ◽  
pp. 138-153
Author(s):  
León F. García Corona
Keyword(s):  
New Media ◽  
Technical Skills ◽  
Image Editing ◽  
Years Of Experience ◽  
Web Development ◽  
Production Techniques ◽  
Database Administration ◽  
Post Production ◽  
Network Administration ◽  
Do So

Most ethnomusicological training requires fieldwork and lab techniques in which students gain technical skills related to the acquisition of data related to fieldwork. Although the work we do as ethnomusicologists sits at the forefront of gathering engaging, relevant content related to musical expressions, most ethnomusicologists are ill equipped in delivering their findings to a broader audience through the use of new media and post-production techniques such as video, sound, and image editing, web development, database administration, and network administration, among many others. Although plenty of literature about developing these skills exists as stand-alone instruction, in this essay I present a bird’s-eye view of content production from an ethnomusicological perspective, providing an understanding of not only content production but how intersects with revenue and ethnomusicological goals. I do so by sharing more than twenty years of experience as an IT specialist and consultant and by exploring some examples of content production at Smithsonian Folkways.

Obladì Obladà e Immagina: sperimentazioni tra video e computer art in tv

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Paola Lagonigro
Keyword(s):  
Computer Graphics ◽  
Personal Computers ◽  
Computer Art ◽  
Production Techniques ◽  
Post Production

During the Eighties, with the spread of personal computers, the image of the Italian television was revolutionised by computer graphics. Broadcasts like Obladì Obladà (1985) and Immagina (1987-88), both directed by Ranuccio Sodi, made extensive use of computer graphics and combined analogue and digital post-production techniques. These programs were dedicated to contemporary audio-visual production: from videoclips to video installations, from advertising to computer art and, more generally, to artistic forms related to electronics. For Obladì Obladà, Massimo Iosa Ghini designed the graphic line and created a futuristic studio that revealed the style of bolidismo. While in Immagina, Fabrizio Plessi’s scenographies dictated the aesthetics of the transmission, dialoguing with Mario Convertino’s graphics. The article aims to analyse the two programs as products of an aesthetical and technological experimentation in which the collaboration between the director and the artists involved represents an attempt to create a “television art”.

Scoring for Film and Video Games

2013 ◽  
pp. 662-681 ◽  
Author(s):  
Ronald H. Sadoff
Keyword(s):  
Video Games ◽  
Digital Media ◽  
Video Game ◽  
Film Music ◽  
Film Scores ◽  
Video Game Music ◽  
Feature Films ◽  
Production Techniques ◽  
Post Production ◽  
Compositional Styles

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. The music for Hollywood feature films and “Triple A” video games has undergone an extraordinary transformation over the past decade. The proliferation of digital technologies has spawned innovative ways of creating film music and has redefined the post-production landscape. Through interviews with prominent practitioners, the soundtrack is illuminated by accounts of compositional and post-production processes drawn from real-world contexts. What becomes clear is that the collaborative efforts of composers and post-production professionals are now indispensible for the channeling of an expanding array of technologies that are being used toward creative ends. Answering to the demands of a dynamic nonlinear medium, the “adaptive music” composed for video games diverges notably in creative practices and modular workflow engaged in by its composers and programmers. These relatively new innovative ways of creating film scores and video game music cross-pollinate, drawing from their respective technologies, proprietary production techniques, and eclectic compositional styles.

Survey and Analysis of Interactive Art Documentation, 1979–2017

Leonardo ◽  
2019 ◽  
Vol 52 (3) ◽  
pp. 284-285
Author(s):  
Ji Yoon Jang ◽  
Byeongwon Ha ◽  
Byungjoo Lee
Keyword(s):  
Vector Space ◽  
Original Work ◽  
Digital Art ◽  
The Internet ◽  
Dimensional Vector ◽  
Interactive Art ◽  
Dimensional Vector Space ◽  
Binary Encoding ◽  
Production Techniques ◽  
Post Production

Today, documentation is becoming a major source of exposure and appreciation for artworks on the Internet, beyond the original purpose of preservation and academic archiving. This study analyzes 982 documentations of interactive digital art projects created between 1979 and 2017. Each documentation was represented as a point in a 17-dimensional vector space through binary encoding. The resulting visualization from the t-SNE algorithm shows that, compared to its phenomenological quality, most documentation of interactive art is a cinematic surrogate that follows film post-production techniques. In conclusion, this study calls for the development of documentary techniques that can provide the viewer with a quasi-authentic experience of the original work in interactive digital art.

scholarly journals FORT RODD HILL N.H.S.C.: WORKFLOW AND BENEFITS IN THE USE OF PHOTOGRAMMETRIC AND LIDAR DOCUMENTATION FOR THE PRODUCTION OF CONSTRUCTION TENDER DOCUMENTS

2017 ◽  
Vol IV-2/W2 ◽  
pp. 131-134
Author(s):  
C. S. Kretz
Keyword(s):  
Laser Scanning ◽  
Emerging Technologies ◽  
Data Capture ◽  
Current Phase ◽  
Production Techniques ◽  
Evolving Data ◽  
Post Production

This case study examines the workflow, benefits, disadvantages and limitations of photogrammetry and laser scanning for the production of contract tender documents. This includes the use of the outputs of the aforementioned methodologies for direct inclusion in the construction tender drawing package. This study will also delve into evolving data capture and post production techniques, specifically the utilization of UAV’s to further refine, supplement and provide greater efficiency in the field for the acquisition of photogrammetric data. Future phases of this project will leverage emerging technologies to further improve and expand upon the success of the current phase of the project.

scholarly journals (320) Photographic and Post-processing Techniques for Horticultural Images

HortScience ◽  
2006 ◽  
Vol 41 (4) ◽  
pp. 1045A-1045
Author(s):  
James McConnell
Keyword(s):  
Asset Management ◽  
Focal Length ◽  
Digital Asset Management ◽  
Multiple Images ◽  
Wide Angle Lens ◽  
Production Techniques ◽  
Digital Asset ◽  
Post Production ◽  
Processing Techniques

Numerous shooting and post-production techniques can be used to improve the quality of images used in horticultural publications. Certain lenses, lens attachments, and camera accessories are useful for enabling greater success in photographing plants. Small diffusers and reflectors allow the shooting of close-ups in the field, even when the sun is directly overhead. Shift lenses can be used to photograph trees at a closer distance without the extreme distortion of wide focal length lenses. Stitching of multiple images to produce panoramic shots can produce images with increased resolution, less distortion, and without the need for a wide-angle lens. Experiences with digital asset management management and post-production workflows are also presented.

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