Cinematographic techniques in architectural animations and their effects on viewers' judgment
01 Jan 2008-
TL;DR: In this paper, the authors identify which aspects of film craft show the most promise by systematically examining the use of cinematographic techniques in animations and their effects on viewers' evaluations.
Abstract: Computer-generated animations have become a commonly employed medium to communicate architectural designs and projects. Because designers of animations are not constrained by real-world conditions and do not share the rich history of film, they do not readily benefit from the body of cinematographic techniques that filmmakers can draw upon. Specialists argue that this results in unappealing, lackluster animations that could be vastly improved by the application of filmmakers’ craft knowledge. The aim of this study was to identify which aspects of film craft show the most promise by systematically examining the use of cinematographic techniques in animations and their effects on viewers’ evaluations. Our analysis of award-winning architectural animations established average shot length as a reliable and valid predictor for determining participants’ judgments of salience, vividness, and diversity. A shorter average shot length resulted in more favorable ratings, while longer shot rates led to the opposite outcome. We consider these findings from a broader filmic perspective and discuss them in light of their usefulness for designers and the field.
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07 Aug 2014
TL;DR: De Souza e Silva et al. as mentioned in this paper proposed a toolbox for the "Programmable City" and an ICT "Toolbox" for urban planning. But the toolbox is limited to the use of mobile devices.
Abstract: Introduction: Moving Towards Adjacent Possibles Adriana de Souza e Silva & Mimi Sheller Part I: Re-thinking Cohesion, Coordination, and Navigation 1. Mobile Phones and Digital Gemeinschaft: Social Cohesion in the Era of Cars, Clocks and Mobile Phones Rich Ling 2. Walking in the Hybrid City: From Micro-Coordination to Chance Orchestration Robbin van der Akker 3. Direct Video Observation of the uses of Smartphones on the Move: Reconceptualizing Mobile Multi-Activity Christian Licoppe & Julien Figeac 4. Rerouting Borders: Politics of Mobility and the Transborder Immigrant Tool Fernanda Duarte Part II: Performing Location, Place-Making, and Mobile Gaming 5. Online Place Attachment: Exploring Technological Ties to Physical Places Raz Schwartz 6. Location as a Sense Of Place: Everyday Life, Mobile and Spatial Practices in Urban Spaces Didem OEzkul 7. Performing City Transit Taien Ng Chan 8. Location-Based Gaming Apps and the Commercialization of Locative Media Dale Leorke 9. Houses in motion: An Overview of Gamification in the Context of Mobile Interfaces Nathan Hulsey Part III: Mobile Cities: Mapping, Architecture and Planning 10. Exploring Locative Media for Cultural Mapping Peter Hemmersam, Jonny Aspen, Andrew Morrison, Idunn Sem, & Martin Havnor 11. Designing for Mobile Activities: Wifi Hotspots, Users and the Relational Programming of Place Michael Doyle 12.The Power of Place and Perspective: Sensory Media and Situated Simulations in Urban Design Gunnar Liestol & Andrew Morrison 13. The Will to Connection: A Research Agenda for the "Programmable City" and an ICT "Toolbox" for Urban Planning Ole B. Jensen Epilogue 14. Restless: Locative Media as Generative Displacement Teri Rueb
58 citations
Cites background from "Cinematographic techniques in archi..."
...Sensory media and situated simulations in urban design...
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...Today architectural competitions migrate these tools and techniques from their own “drawings” in CAD suites to companies that then render these as filmic materializations (see Hah et al. 2008) that have persuasive and rhetorical force, as has been the case across...
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TL;DR: The effectiveness of the proposed method for identifying NDVCs is on par with or better than the effectiveness of three state-of-the-art NDVC detection methods either making use of temporal ordinal measurement, features computed using the Scale-Invariant Feature Transform (SIFT), or bag- of-visual-words (BoVW).
Abstract: The detection of near-duplicate video clips (NDVCs) is an area of current research interest and intense development. Most NDVC detection methods represent video clips with a unique set of low-level visual features, typically describing color or texture information. However, low-level visual features are sensitive to transformations of the video content. Given the observation that transformations tend to preserve the semantic information conveyed by the video content, we propose a novel approach for identifying NDVCs, making use of both low-level visual features (this is, MPEG-7 visual features) and high-level semantic features (this is, 32 semantic concepts detected using trained classifiers). Experimental results obtained for the publicly available MUSCLE-VCD-2007 and TRECVID 2008 video sets show that bimodal fusion of visual and semantic features facilitates robust NDVC detection. In particular, the proposed method is able to identify NDVCs with a low missed detection rate (3% on average) and a low false alarm rate (2% on average). In addition, the combined use of visual and semantic features outperforms the separate use of either of them in terms of NDVC detection effectiveness. Further, we demonstrate that the effectiveness of the proposed method is on par with or better than the effectiveness of three state-of-the-art NDVC detection methods either making use of temporal ordinal measurement, features computed using the Scale-Invariant Feature Transform (SIFT), or bag-of-visual-words (BoVW). We also show that the influence of the effectiveness of semantic concept detection on the effectiveness of NDVC detection is limited, as long as the mean average precision (MAP) of the semantic concept detectors used is higher than 0.3. Finally, we illustrate that the computational complexity of our NDVC detection method is competitive with the computational complexity of the three aforementioned NDVC detection methods.
4 citations
07 Aug 2014
4 citations
TL;DR: In this article, the authors present a virtual-reconstruction of the 1883 Krakatau volcanic eruption and tsunami, which is composed of multiple segments of 3D animations, digital computer animations, and short field-filmed clips, which are then assembled into one single documentary presenting both a virtual reconstructing of the event whilst giving a variety of information concerning the subject.
Abstract: The Eastern side of the Sunda Strait coastal line is an area which faces directly towards the source of the disaster . Mount Krakatau’s explosion causes m ajor eruptions and destructive tsunami waves back in 1883, causing severe damages to the area and a death-count reaching 30,000 people. Learning from past, it is important to convey the understanding of natural hazards to the public. Spreading knowledge of the threat needs to be done by using methods that can easily be accepted, understood and implemented by any kind of communit ies . This preliminary research compels that the general population does not have sufficient understanding on this natural disaster . They are also oblivious to what procedure should be taken when such a tragedy occur. The research also illustrates that the audio-visual media is the most appropriate and favored method of gaining knowledge by the community. The media is constituted of multiple segments of 3D animations, digital computer animations, and short field-filmed clips, which are then assembled into one single documentary presenting both a virtual-reconstruction of the event whilst giving a variety of information concerning the subject. The content of the documentary will provide information about the Krakatau tsunami, the current condition of Mount Anak Krakatau, the signs leading to a volcanic eruption and a tsunami, and the necessary steps that they will have to follow in response to such threat . This documentary movie will hopefully become an educational tool to expand people's knowledge and awareness at the event of an eruption and a tsunami.
1 citations
References
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Book•
01 Jan 1979
TL;DR: In this paper, Bordwell and Thompson's Film Art has been the best-selling and most widely respected introduction to the analysis of cinema, supporting a skills-centered approach supported by examples from many periods and countries.
Abstract: Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell and Kristin Thompson's Film Art has been the best-selling and most widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by examples from many periods and countries, the authors help students develop a core set of analytical skills that will enrich their understanding of any film, in any genre. In-depth examples deepen students' appreciation for how creative choices by filmmakers affect what viewers experience and how they respond.
1,561 citations
"Cinematographic techniques in archi..." refers background in this paper
...Camera displacements can be executed in several ways and at differing velocities, and can be combined with rotations in a single continuous sequence as the needs of the specific situation dictate (Bordwell & Thompson, 2004)....
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TL;DR: This approach, motivated and directed by the existing cinematic conventions known as film grammar, uses the attributes of motion and shot length to define and compute a novel measure of tempo, confirming tempo as a useful high-level semantic construct in its own right and a promising component of others such as rhythm, tone or mood of a film.
Abstract: The paper addresses the challenge of bridging the semantic gap that exists between the simplicity of features that can be currently computed in automated content indexing systems and the richness of semantics in user queries posed for media search and retrieval. It proposes a unique computational approach to extraction of expressive elements of motion pictures for deriving high-level semantics of stories portrayed, thus enabling rich video annotation and interpretation. This approach, motivated and directed by the existing cinematic conventions known as film grammar, as a first step toward demonstrating its effectiveness, uses the attributes of motion and shot length to define and compute a novel measure of tempo of a movie. Tempo flow plots are defined and derived for a number of full-length movies and edge analysis is performed leading to the extraction of dramatic story sections and events signaled by their unique tempo. The results confirm tempo as a useful high-level semantic construct in its own right and a promising component of others such as rhythm, tone or mood of a film. In addition to the development of this computable tempo measure, a study is conducted as to the usefulness of biasing it toward either of its constituents, namely motion or shot length. Finally, a refinement is made to the shot length normalizing mechanism, driven by the peculiar characteristics of shot length distribution exhibited by movies. Results of these additional studies, and possible applications and limitations are discussed.
90 citations
Book•
01 Jan 2000
TL;DR: In this article, PUDOVKIN, EISENSTEIN, BAZIN, BALAZS, and GODARD discuss the role of the camera in the process of making a video and the relationship between the camera and the video.
Abstract: INTRODUCTION PREFACE TO THE SECOND EDITION PART 1: FILM AS AN ART THE NATURE OF ART WAYS OF LOOKING AT ART FILM, RECORDING, AND THE OTHER ARTS THE STRUCTURE OF ART PART 2: TECHNOLOGY: IMAGE AND SOUND ART AND TECHNOLOGY THE LENS THE CAMERA THE FILMSTOCK THE SOUNDTRACK POSTPRODUCTION VIDEO AND FILM PROJECTION PART 3: THE LANGAUGE OF FILM: SIGNS AND SYNTAX SIGNS SYNTAX PART 4: THE SHAPE OF FILM HISTORY MOVIES/FILM/CINEMA "MOVIES": ECONOMICS "FILM": POLITICS "CINEMA": ESTHETICS PART 5: FILM THEORY: FORM AND FUNCTION THE CRITIC THE POET AND THE PHILOSOPHER: LINDSAY AND MUNSTERBERG EXPRESSIONISM AND REALISM: ARNHEIM AND KRACAUER MONTAGE: PUDOVKIN, EISENSTEIN, BALAZS, AND FORMALISM MISE EN SCENE: NEOREALISM, BAZIN AND GODARD FILM SPEAKS AND ACTS: METZ AND CONTEMPORARY THEORY PART 6: MEDIA: IN THE MIDDLE OF THINGS COMMUNITY PRINT AND ELECTRONIC MEDIA THE TECHNOLOGY OF MECHANICAL AND ELECTRONIC MEDIA RADIO AND RECORDS TELEVISION AND VIDEO PART 7: MULTIMEDIA: THE DIGITAL REVOLUTION THE DIGITAL REVOLUTION THE MYTH OF MULTIMEDIA THE MYTH OF VIRTUAL REALITY THE MYTH OF CYBERSPACE "WHAT IS TO BE DONE? I FILM AND MEDIA: A CHRONOLOGY TO 1895: PREHISTORY 1896-1915: THE BIRTH OF FILM 1916-1930: SILENT FILM, THE BIRTHS OF RADIO AND SOUND FILM 1931-1945: THE GREAT AGE OF HOLLYWOOD AND RADIO 1946-1960: THE GROWTH OF TELEVISION 1961-1980: THE MEDIA WORLD 1981-PRESENT: THE DIGITAL WORLD II READING ABOUT FILM AND MEDIA PART ONE: A BASIC LIBRARY PART TWO: INFORMATION INDEX TOPICS PEOPLE TITLES
79 citations
"Cinematographic techniques in archi..." refers methods in this paper
...OrIgINAl ArTIclE www.ijdesign.org 30 International Journal of Design Vol.2 No.3 2008 govern the proper use of cinematic techniques (Bordwell & Thomson, 2004; Monaco, 2000)....
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TL;DR: Excerpts that follow short film sequences are recognized faster when the excerpt originally came after a structural cinematic break than when it originally came before the break.
Abstract: Viewers perceptually segment moving picture sequences into their cinematically defined units: excerpts that follow short film sequences are recognized faster when the excerpt originally came after a structural cinematic break (a cut or change in the action) than when it originally came before the break.
71 citations
"Cinematographic techniques in archi..." refers methods in this paper
...However, previous research on narrative films (Carroll & Bever, 1976; Kraft, 1986; May et al., 2003) and television advertisements (Larsen & Hergert, 2004) leads us to presume that these apparent feelings of boredom can be mitigated by employing the appropriate cinematographic techniques—and…...
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