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Relevant bibliographies by topics / Motion picture production code

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Academic literature on the topic 'Motion picture production code'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Motion picture production code"

1

Vaughn, Stephen. "Morality and Entertainment: The Origins of the Motion Picture Production Code." Journal of American History 77, no. 1 (June 1990): 39. http://dx.doi.org/10.2307/2078638.

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Cox, Fiona. "Closet Cases: Costuming, Lesbian Identities and Desire, Hollywood Cinema and the Motion Picture Production Code." International Journal of the Image 1, no. 4 (2011): 43–56. http://dx.doi.org/10.18848/2154-8560/cgp/v01i04/44221.

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COHEN, HARVEY G. "The Struggle to Fashion the NRA Code: The Triumph of Studio Power in 1933 Hollywood." Journal of American Studies 50, no. 4 (December 28, 2015): 1039–66. http://dx.doi.org/10.1017/s002187581500122x.

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This article traces the long and antagonistic fashioning of the National Recovery Adminstration's code of practice for the film industry during 1933. The NRA code process publicly exposed resentful fissions within Hollywood, and the oligarchic, if not monopolistic, way in which the major film studios had set up their vertically integrated consolidation of the motion-picture industry in terms of production, distribution and exhibition on a national scale. A media spotlight flooded onto their soundstages and executive suites, and many, including President Franklin Roosevelt, were not pleased with what they saw. The NRA, signed into law in 1933 by Roosevelt, implemented an unprecedented reorganization of the American economy to restore employment to combat the Great Depression. Perhaps most controversially, especially for the union-averse film industry, the NRA established collective bargaining. Though they supported it initially, the major studios would not long abide by the NRA. Throughout 1933, they violated the spirit and letter of the code, ensuring as much as possible that the economic pain and sacrifice of the Great Depression in Hollywood was visited upon artists and technicians, not studio heads and executives. They used the making of the code to attempt to cement and further the advantages they enjoyed while offering little to other interests in the film industry.

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Timmer, Joel. "Restricting Portrayals of Film Violence to Reduce the Likelihood of Negative Effects in Viewers: Did the Framers of the Motion Picture Production Code Get It Right?" Journal of Popular Film and Television 39, no. 1 (March 14, 2011): 29–36. http://dx.doi.org/10.1080/01956051.2010.494186.

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Umenhoffer, Tamás, László Szécsi, and László Szirmay-Kalos. "Hatching for Motion Picture Production." Computer Graphics Forum 30, no. 2 (April 2011): 533–42. http://dx.doi.org/10.1111/j.1467-8659.2011.01878.x.

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Kennel, Glenn, John Pytlak, Richard Sehlin, and Ronald Uhlig. "Major Motion-Picture Production Standards." SMPTE Journal 97, no. 12 (December 1988): 985–90. http://dx.doi.org/10.5594/j02849.

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DeMarsh, Leroy E., Ronald R. Firth, and Richard C. Sehlin. "Scanning Requirements for Motion-Picture Post-Production." SMPTE Journal 94, no. 9 (September 1985): 921–24. http://dx.doi.org/10.5594/j03370.

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Gil, Ricard, and Pablo T. Spiller. "The Organizational Dimensions of Creativity: Motion Picture Production." California Management Review 50, no. 1 (October 2007): 243–60. http://dx.doi.org/10.2307/41166426.

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Mimaki, Yasunori, and Makoto Yamada. "Color Reproduction and Conversion for Digital Motion Picture Production." SMPTE Motion Imaging Journal 112, no. 12 (December 2003): 399–402. http://dx.doi.org/10.5594/j12344.

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Chuang, Richard, and Darwyn Peachey. "Special Issue on Computer Graphics for Motion Picture Production." Journal of Graphics Tools 9, no. 4 (January 2004): 1. http://dx.doi.org/10.1080/10867651.2004.10504897.

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Dissertations / Theses on the topic "Motion picture production code"

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Stankiewicz, Kathleen Lynn. "UNCENSORED: GENDER ROLES AND THE DISMANTLING OF THE MOTION PICTURE PRODUCTION CODE." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1344343939.

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Alfred, Ruth Ann. "The effect of censorship on American film adaptations of Shakespearean plays." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-2733.

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Engelbrecht, Nadine. "University of Pretoria : school of motion picture production." Pretoria : [s.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-11212008-103253.

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Letcher, Christopher. "Composing South Africa on screen: a film composer's perspective on representation and aesthetics in the production of post-apartheid cinema." Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606724.

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Yu, Gwo-chauo. "China, Hong Kong, and Taiwan: The Convergence and Interaction of Chinese Film." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501002/.

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This study focuses on the evolution of the movie industries in Taiwan, Hong Kong, and China in the late 1980s and early 1990s, with an emphasis on the interaction and cooperation in movie production among these three areas. The study consists of three sections: a general description of the development of Chinese cinema before 1949; an overview of the movie industries in Taiwan, Hong Kong, and China after the civil war; and an intensive study of the recent changes, interactions, and connections among these industries. In the third section, three models are proposed to explain the changing practices in movie production in these three areas. Obstacles preventing further cooperation and the significance of the reconstruction and integration of Chinese cinema are discussed.

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Lam, Sui-kwong Sunny. "The impact of translated Japanese comics on Hong Kong cinematic production : cultural imperialism or local redeployment? /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18598389.

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Taylor, Paul. "Responding to the shock of the new : trade, technology, and the changing production axis in film, television, and new media /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6202.

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Davis, Blair. "The 1950s B-movie : the economics of cultural production." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102798.

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The United States Supreme Court placed the major Hollywood studios in violation of antitrust laws in 1948, leading to the end of the classical Hollywood studio system of the 1930s and 1940s. Subsequent changes in the corporate organization and mode of production of the major studios signaled the end of the traditional B-movie as a product of block-booking policies.
B-movies became a distinctly different entity in the 1950s, however. From the institutional effects of the antitrust ruling, to changing audience demographics, the emergent patterns in production, distribution and exhibition had a profound effect on the evolution of the B-movie from its origins in the early 1930s to its new role in the cinematic marketplace of the 1950s. Increasingly the result of newly formed independent companies, B-movies innovated such industrial components as new genre cycles and demographic patterns.
This dissertation takes a political economy approach to examining the B-movie in the 1950s as an economic product, with a specific emphasis on independent filmmaking. The implication for film studies lies in answering questions about the unique nature of the B-movie filmmaking process: how is the mode of production of a B-movie different from that of mainstream Hollywood filmmaking? How does the low-budget nature of independent cinema determine its mode of production? How is a B-movie limited and/or defined by the low budget nature of its mode of production, and how does this affect the film's aesthetics? How do B-movies function in, and what is their value to, the film marketplace? Changes in film production, distribution and exhibition will be examined, as will patterns in film spectatorship in relation to the changing institutional landscape of the film industry in the 1950s.
The B-movie was a volatile entity during the 1950s, with both major and minor studios questioning the economic viability of low-budget production. B-movies existed in opposition to the cinematic mainstream in the 1950s, a legacy that was passed on to independent filmmakers of subsequent decades. Analyzing the mode of production of these B-movies is essential in understanding their aesthetics, as well as their historical role in the film industry.

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Nonnemaker, Donald. "The advantages and disadvantages of the transition from 35MM film to high definition video production form commercial and corporate applications." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2006. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.S.)--Kutztown University of Pennsylvania, 2006.
Source: Masters Abstracts International, Volume: 45-06, page: 3251. Typescript. Abstract precedes thesis as 1 leaf. Includes bibliographical references (leaves 69-71).

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Jones, Carol Byrne. "Anatomy of a co-production : an examination of how Tan ar y Comin became a Christmas re-union." Thesis, University of Wales Trinity Saint David, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683064.

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Books on the topic "Motion picture production code"

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1941-, Simmons Jerold, ed. The dame in the kimono: Hollywood, censorship, and the production code. 2nd ed. Lexington: University Press of Kentucky, 2001.

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1941-, Simmons Jerold, ed. The dame in the kimono: Hollywood, censorship and the production code from the 1920s to the 1960s. London: Weidenfeld and Nicolson, 1990.

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1941-, Simmons Jerold, ed. The dame in the kimono: Hollywood, censorship, and the production code from the 1920s to the 1960s. New York: Grove Weidenfeld, 1990.

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Leff, Leonard J. The dame in the kimono: Hollywood, censorship, and the production code from the 1920s to the 1960s. New York: Anchor Books, 1991.

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Jones, Martha. Motion picture production in California. Sacramento, CA: California State Library, California Research Bureau, 2002.

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Biondi, Claudio. Come si produce un film. Roma: Audino, 1996.

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Picture perfect. Lanham, Md: Scarecrow Press, 2000.

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William, Park. Hollywood: An epic production. Portland, OR: Franklin Street Books, 2003.

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Ireland. Special Working Group on the Film Production Industry. The film production industry in Ireland. [Dublin: Stationery Office, 1992.

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Motion picture and video lighting. Boston: Focal Press, 1996.

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Book chapters on the topic "Motion picture production code"

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DeSilva, Jennifer Mara. "The secularization of Cesare Borgia and the American Motion Picture Production Code." In The Borgia Family, 250–75. Abingdon, Oxen; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429265280-12.

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"2. ENFORCING THE MOTION PICTURE PRODUCTION CODE." In Film Censorship, 34–69. Columbia University Press, 2018. http://dx.doi.org/10.7312/bies18313-004.

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Billheimer, John. "Origins of the Code." In Hitchcock and the Censors, 9–23. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177427.003.0002.

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This chapter traces the origins of film censorship in the US from 1910 onward. It documents the rise of public concern over movie sex and violence and traces the manner in which pressures from religious and social groups led to the formation of individual censorship entities in various states and municipalities. The motion picture industry tried to counter these pressures by forming the Motion Picture Production and Distribution Association under Will Hays and promising to police itself, an effort that proved ineffectual until 1934, when government pressure, the Legion of Decency, and Catholic boycotts led to the requirement that any motion picture produced in the US had to earn the Seal of Approval of the Production Code Administration under Joe Breen.

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Salzberg, Ana. "Love Stories and General Principles: The Development of the Production Code." In Produced by Irving Thalberg, 94–117. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451048.003.0005.

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This chapter examines Thalberg’s role in crafting the Motion Picture Production Code and its influence on cinematic sensuality in a post-talkie context. In 1929, Thalberg would write “General Principles to Cover the Preparation of a Revised Code of Ethics for Talking Pictures” on behalf of a three-person subcommittee, thus informing the industry’s adoption of a formal Production Code in 1930. These Principles outline Thalberg’s theorization of how studios could engage with the issue of regulation while still maintaining their commitment to “entertainment value.” The chapter takes these General Principles – and Thalberg’s extemporaneous defence of them at a 1930 meeting of the Association of Motion Picture Producers – as a lens through which to consider early-Code films such as Norma Shearer vehicle The Divorcée (Leonard, 1930) and Anita Loos-penned Red-Headed Woman (Conway, 1932), starring Jean Harlow.

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"CODE TO GOVERN THE MAKING OF TALKING, SYNCHRONIZED AND SILENT MOTION PICTURES (MOTION PICTURE PRODUCTION CODE) (USA, 1930)." In Film Manifestos and Global Cinema Cultures, 403–17. University of California Press, 2019. http://dx.doi.org/10.1525/9780520957411-117.

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Ryan, Tom. "Sirk, the Family Melodrama, and the Production Code." In The Films of Douglas Sirk, 158–89. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496817983.003.0011.

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For Sirk, all that the Motion Picture Production Code disallowed served as a stimulus to creativity, a challenge he didn’t exactly welcome but that turned out to be beneficial. His melodramas about families and would-be lovers become tales of ideological entrapment, of characters locked behind bars that they can’t see and so can’t escape.

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Billheimer, John. "The Decline of the Code." In Hitchcock and the Censors, 291–94. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177427.003.0039.

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This chapter describes the decline of the Production Code and its replacement by the current rating system. Two Supreme Court rulings contributed to the end of the Production Code. In 1948, the court ruled that the major motion picture companies could no longer control the theaters in their distribution system, making it possible for independently produced and foreign films without a Code Seal to obtain first-run screenings. And in 1952 the court overturned the ban on Roberto Rossellini’s The Miracle and ruled that motion pictures were entitled to the guarantees of free speech and free press. The liberalization of public attitudes in the post-Code years, the influx of more explicit foreign films, and the impact of TV on box-office receipts all contributed to the decline of the Code, as did several groundbreaking movies. In 1953, Otto Preminger’s ‘racy’ comedy (by 1953 standards), The Moon Is Blue, became one of the first major US movies to be released without a Code Seal. In 1964, Sidney Lumet’s The Pawnbroker successfully challenged the Code ban on nudity, and in 1966, Mike Nichols’s Who’s Afraid of Virginia Woolf? broke the taboo on vulgar language. In 1966, Jack Valenti became head of the MPAA and soon replaced the Production Code with the precursor of today’s rating system.

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"The Role of the Hollywood Motion Picture Production Code (1930–1966) in the Creation of Hegemony." In Media, Ideology and Hegemony, 248–66. BRILL, 2018. http://dx.doi.org/10.1163/9789004364417_016.

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Uidhir, Christy Mag. "Cinematic Evil." In Evil, 414–22. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199915453.003.0023.

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Prior to the enforcement of the Motion Picture Production Code in 1934, Hollywood films were infamous for featuring violence, sexuality, profanity, drug use, and all manner of moral turpitude. Despite this, it wasn’t until the middle of the century that what might be called “pure” or “intrinsic” evil became a prominent theme in American film. In this chapter, I investigate the varieties of evil on display in American cinema and conclude that perhaps the relatively late appearance of “pure” evil depicted cinematically may have had to do with the very sorts of very real evils occurring in the very actual world in the middle of the twentieth century.

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Billheimer, John. "Television Censorship." In Hitchcock and the Censors, 273–80. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177427.003.0037.

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This chapter addresses the censorship issues faced by Hitchcock while producing his television series, Alfred Hitchcock Presents. It traces the history of broadcast censorship from the introduction of the Federal Communication Commission in 1934 through the development of the National Association of Broadcasters’ Code of Practices in 1951. The Code resembled the Motion Picture Production Code and was accompanied by a Seal of Good Practice, which was displayed on the closing credits of most US television programs from 1952 through the early 1980s. In practice, the sponsors of television programs had more control over programming conduct than the NAB Code. Because TV sponsors were attuned to any negative reaction, and television reached a much wider audience than movies, television content in the 1950s and 1960s was much more susceptible to protests from pressure groups than the movies. Television producers faced more censors than movie producers and were even more timid about confronting them. The Red Scare of the 1950s produced blacklists of television performers that ruined as many lives as the movie blacklists did. The NAB Code became hopelessly outdated and was suspended in 1983, supplanted by a rating system similar to that developed by the MPAA in 1996.

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Conference papers on the topic "Motion picture production code"

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Moe, Geir, and Kjell Hagatun. "Wave Induced VIV of Tubes in the Splash Zone." In ASME 2004 23rd International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2004. http://dx.doi.org/10.1115/omae2004-51571.

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On semisubmersible production platforms often a number of Riser Guide Tubes (RGT) are used to protect the risers through the wave splash zone from the floater pontoon and up to a balcony at deck level. Then the question comes up as to whether Vortex Induced Vibrations (VIV) of the RGT’s may be a problem. The present paper reports on part of the effort to investigate that matter. Here a computer programme was developed to analyse the situation and since model tests were made to clarify the behaviour of the RGT’s, also data were available against which the computational predictions could be compared. Unfortunately verification of the computational model turned out to be problematic. Most important it turned out that water entry forces dominated the force picture, and since flow in the region between the platform legs was quite complicated it was hard to know whether vibrations were due to VIV or water entry. VIV response is strongly dependent on the time histories of the relative particle velocity, which were not measured in the experiment, and could not be accurately estimated due to pronounced flow nonlinearities, refraction effects and platform motions. Also the experimental database on which the computer code relied for the force coefficients appeared to be too summaric at low VIV amplitudes for our purpose. This is understandable, since for VIV in steady currents only large motions have been of importance.

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Knor, Reinhard. "Compression Formats and Interoperability: Picture Quality Aspects and Consequences for Future Networked Television Production." In SMPTE Advanced Motion Imaging Conference. IEEE, 1999. http://dx.doi.org/10.5594/m00942.

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Bakke, Arne M., Jon Y. Hardeberg, and Steffen Paul. "Simulation of film media in motion picture production using a digital still camera." In IS&T/SPIE Electronic Imaging, edited by Susan P. Farnand and Frans Gaykema. SPIE, 2009. http://dx.doi.org/10.1117/12.816405.

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Stanić Loknar, Nikolina, Diana Bratić, and Ana Agić. "Kinetic typography - figuration and technology." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p81.

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Kinetic typography - text in motion is an animation method of characters that has a video form instead of some "static" form such as picture, poster or book. The most important element for figuration of kinetic typography is the choice of font. Furthermore, one should think about the letter cut, the size and color of the characters, and the background color on which the animation takes place. It can be created in various ways, most often using software that applies a multitude of effects to the text or letter character, creating dynamic solutions. The effects vary from the simplest such as "fade-in" and "fade-out" (entering and exiting text in and out of the frame). Static characters can expand, narrow, move slowly or rapidly, grow and change in a variety of ways to very complex ones in which the author builds an entire story or promotional video by carefully combining software capabilities. However, each software has its limitations and for this reason the kinetic typography presented in this paper is programmed using codes. In a wide range of available programming languages due to the simple interface that does not require advanced programming concepts and gives exceptional results in the field of kinetic typography, Processing was chosen. The Processing programming language is intended for generating and modifying graphics and is based on the Java programming language. The most important difference between Processing and Java is that Processing offers a simple programming interface that does not require advanced levels of programming such as classes, objects, or animations. It also allows advanced users to use them. Processing uses a variety of typography rendering approaches such as raster and vector solutions and allows typography to be programmed and displayed on the Web independently of the user's Web browser and font database. Processing enables the use of visual elements in animation, including typographic ones, by introducing interaction to the user. The user is no longer a passive observer but actively participates in the performance of the application whose final appearance is not predefined but arises from the actions of each individual user. For the purposes of this paper, individual letters were created in a font-making program. The letters made are of various written classifications and cuts, which with their variety contribute to the attractiveness of the animation. In the creating of motion typography in this paper, the programming language Processing was used. Written program codes that manipulate words, letters, or parts of characters to create interesting visual effects for the viewer that aim to hold the viewer's attention and convey the desired message or emotion. There are no strict rules and patterns when making kinetic typography. In kinetic typography, each author determines his own rules, method of production, and there are no same solutions.

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Prusten, Mark J. "Motion picture production facility with liquid cooled 512 processor mobile super computing vehicle and virtual reality environment." In the 2007 ACM symposium. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1315184.1315237.

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Davanlou, Ashkan. "Integration of Fiber Optic Sensors in Measuring Machines." In ASME 2013 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/imece2013-65057.

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The production metrology of today is still dominated by tactile probing systems. However some special metrological tasks cannot be fulfilled by this technique, one example is in the high precision manufacturing of surfaces and structures, which become ultra-miniaturized, complex and fragile. The inspection of small boreholes and cavities is also an example with very tight tolerances which demands non-contact miniaturized sensors. Particularly the measurement of the shape of spray holes in modern fuel injection nozzles for diesel engines fits this statement, as its shape represents the key factor for maximal motor efficiency, as well as minimal pollutant emissions. Any deviation from its design shape significantly affects spray breakup and can lead to unequal distribution of flow and pressure changes. These holes can have diameter of 150 microns, with a tendency to even smaller diameters in future systems. Within this work the integration of a fiber optic sensor for distance measurements in measuring machines, specifically for borehole inspection, is described. The used device is a form-tester (Mahr GmbH, MMQ-400) with 3 degrees of freedom. The motion of the machine axis will be controlled with help of image processing operation which are based on pictures taken from the specimen’s top surface. For this mean a micro camera will be mounted on the form-tester. By applying in-house developed MATLAB codes, the exact position of the boreholes and that of the fiber optic probe is obtained, so that an automated positioning and measurement (e.g. round-out and roundness tests) could be performed. This process enhances both the precision due to an optimized sensor positioning and speed of the measurement rather than manual execution. Different positioning scenarios will be discussed and compared in this paper, to prove the capability of the proposed system as well as its adaptivity.

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Parida, F. C., P. M. Rao, S. S. Ramesh, B. Malarvizhi, V. Gopalakrishnan, E. H. V. M. Rao, N. Kasinathan, and S. E. Kannan. "Experimental Evaluation of Pool Fire Suppression Performance of Sodium Leak Collection Tray in Open Air." In 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/icone14-89592.

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In the event of sodium leakage from heat transfer circuits of fast breeder reactors (FBR), liquid sodium catches fire in ambient air leading to production of flame, smoke and heat. One of the passive fire protection methods involves immediate collection of the leaking sodium to a sodium hold-up vessel (SHV) covered with a sloping cover tray (SCT) having a few drain pipes and one vent pipe (as in Fig. 1). As soon as the liquid sodium falls on the sloping cover tray, gravity guides the sodium through drain pipes into the bottom tray in which self-extinction occurs due to oxygen starvation. This sodium fire protection equipment called leak collection tray (LCT) works without the intervention of an operator and external power source. A large number of LCTs are strategically arranged under the sodium circulating pipe lines in the FBR plants to serve as passive suppression devices. In order to test the efficacy of the LCT, four tests were conducted. Two tests were with LCT having three drain pipes and rest with one. In each experiment, nearly 40 kg of hot liquid sodium at 550 °C was discharged on the LCT in the open air. Continuous on-line monitoring of temperature at strategic locations (∼ 28 points) were carried out. Colour videography was employed for taking motion pictures of various time-dependent events like sodium dumping, appearance of flame and release of smoke through vent pipes. After self-extinction of sodium fire, the LCT was allowed to cool overnight in an argon atmosphere. Solid samples of sodium debris in the SCT and SHV were collected by manual core drilling machine. The samples were subjected to chemical analysis for determination of unburnt and burnt sodium. The results of the four tests revealed an interesting feature: LCT with three drain pipes showed far lower sodium collection efficiency and much higher sodium combustion than that with just one drain pipe. Thermal fluctuations in temperature sensor located near the tip of the drain pipe have indicated that transient freezing and remelting processes are responsible for this phenomenon. Moreover comparison of test results between present and earlier experiments has revealed that the LCT with funnel shaped SCT is superior to that with boat shaped SCT.

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Seixas de Medeiros, João, Helio Bailly Guimarães, and Antonio Carlos Fernandes. "Reduction of Pitch Motion of FPSO Vessels by Innovative OWC Passive Control." In ASME 2014 33rd International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/omae2014-23686.

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The improvement of the seakeeping capabilities of Floating, Production, Storage and Offloading (FPSO) vessels increases safety and allows its operation on severe weather conditions. It also increases the fatigue life of the risers. Hence, any improvement on the FPSO motion is mostly welcome. Guimarães [1], following similar efforts by Silva [2], studied the reduction of pitch motions of FPSO vessels with the use of the OWCs (Oscillating Water Columns) passive system. However, both experimental and numerical results were inconclusive due to green water effects during experiments and panel issues with the panel code WAMIT [3], respectively. The objective of the present work is to report a series of new tests that prove the feasibility of an “L-shaped” moon pool concept and estimates and tests the ideal length of such concept that maximizes the restoring moment and minimizes pitch the most. The tests were conducted in the Laboratório de Ondas e Correntes (Laboratory of Waves and Currents) of the Federal University of Rio de Janeiro (COPPE/UFRJ).

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Harrison, Alan K. "The Spike Dynamics Source Model for Ejecta in the FLAG Code." In ASME-JSME-KSME 2019 8th Joint Fluids Engineering Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/ajkfluids2019-5455.

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Abstract The Lagrangian hydrocode FLAG employs a subgrid model to represent the ejection of particulate mass (“ejecta”) from a shocked metal surface. With a conforming mesh used in typical simulations, the calculations of ejecta production, properties and launch are carried out independently on each mesh face lying on the surface of the metal. Based on experimental evidence [1] that ejecta production is greatest when the shock releases to the liquid state, the ejection process is modeled as a Richtmyer-Meshkov instability (RMI) of the liquid metal surface, in which the metal spikes that form break up to become ejecta. The model applies to the case in which surface perturbations such as machining grooves can be well approximated as a single-mode sinusoidal perturbation; in this case the RMI spikes are actually sheets. The FLAG model includes (1) a description of RMI spike and bubble growth rates [2] and (2) the Self-Similar Velocity Distribution (SSVD) model of the velocity field within a spike as varying linearly from zero (in the fluid frame) at the base to a maximum value at the tip [3]. We report here on the improvement of this model by incorporating (3) a spike breakup treatment based on the Taylor Analogy Breakup (TAB) model [5], as extended to apply to sheet breakup [6,7], and (4) a new model for the inflow of metal into the base of the spikes. Combining all these elements allows us to self-consistently reconcile the evolving shape of the spikes (elongation and thinning) with the inflow, and with the corresponding properties of the bubbles, under the assumption of incompressibility. Since the model describes the motion of each fluid element into and along the spike, and subsequent fragmentation of the spike into ejecta, it predicts not only mass ejection rate but also the sizes and velocities of the particles launched in this process. We describe the new self-consistent model and its implementation in FLAG.

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Pedersen, Henrik C., Torben O. Andersen, and Jesper Liniger. "Investigation of Load Reduction Possibilities in Wind Turbines Using a Fluid Power Pitch System." In ASME/BATH 2015 Symposium on Fluid Power and Motion Control. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/fpmc2015-9598.

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The pitch system is a central part of modern wind turbines and good pitch control is essential for proper operation of the wind turbine. However, often when considering the pitch control, the pitch system dynamics is approximated by a simplified low order model, which may be acceptable for electrical pitch systems and turbine control purposes, but which does not capture the potential damping possibilities that may arise by actively using the fluid power systems to reduce the loads on the wind turbine structure. The focus of the current paper is therefore on the load reduction possibilities arising from applying an active damping filter in the fluid power systems to damp structural loads on the wind turbine, while maintaining the power production. Utilising the 5MW NREL reference wind turbine the paper presents a model of the fluid power pitch system, which is incorporated into the aeroelastic code FAST. Based on the model, an active damping approach is applied in combination with the standard pitch control to reduce oscillations in the pitch actuator force and hence the fatigue loadings on the mechanical structure. With basis in the implemented algorithm, the wind turbine is simulated under standard (IEC) load conditions and the load reduction possibilities analysed for the critical areas of the wind turbine along with performance of the wind turbine (pitch angle and power output).

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