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Dissertations / Theses on the topic 'Video compositing'
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Meigneux, Guillaume. "Le territoire à l'épreuvre du compositing : pratiques vidéographiques et ambiances urbaines." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAH010/document.
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Cette recherche interroge les enjeux heuristiques et opérationnels de la vidéo dans la pratique de l'urbanisme. Pour ce faire, elle opère une rencontre entre la notion d'ambiances architecturales et urbaines, telle qu'elle est développée au CRESSON, et les concepts d'image-mouvement et d'image-temps développés par Deleuze. Puis elle propose de rendre cette rencontre effective dans le cadre de la pratique de l'urbanisme à travers le compositing numérique, technique de manipulation des images animées.L'hypothèse qui guide cette recherche est qu'il est possible de définir une image-composite capable de faire valoir et de mettre en débat des phénomènes d'ambiances spécifiques aux territoires étudiés. Cette hypothèse se formalise autour de deux corpus, le premier est issu d'une pratique artistique de la vidéo qui motiva la mise en place de ce projet de thèse, le deuxième est issu d'une pratique de la vidéo en agence d'urbanisme qui s'effectua tout au long de cette recherche.Ce travail permet de valoriser la vidéo comme support de connaissance d'un côté et comme posture de projet de l'autre. Support de connaissance, car la vidéo offre la possibilité de renouveler l'approche phénoménologique en vigueur dans le champ des ambiances par une appréhension des phénomènes sensibles dans le temps de leur actualisation. Posture de projet, car la vidéo est susceptible de reconfigurer les modalités relationnelles en œuvre dans les dynamiques d'analyse et de conception de l'espace et du territoireThis research questions the heuristic and operational issues of the video in the practice of urban planning. To do this, it operates a meeting between the notion of architectural and urban environments, as developed in Cresson, with image-mouvement and image-temps concepts developed by Deleuze. Then it proposes to give effect to this meeting in the practice of urban planning through digital compositing, technical handling of moving images.The hypothesis guiding this research is that it is possible to define a image-composite able to argue and to debate specific environments territories studied phenomena. This assumption is formalized around two corpus, the first comes from an artistic practice of video that motivated the development of this thesis, the second is from a practice of video in urban planning agency was carried out throughout this research.This work adds value to the video as knowledge media on one side and posture as a project of the other. Support for knowledge, because video offers the possibility of renewing the phenomenological approach in force in the atmospheres of the field by a sensitive understanding of phenomena in time of updating. Project posture, because the video is likely to reconfigure relational modalities implemented in dynamic analysis and design of the space and territory
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Grundhöfer, Anselm [Verfasser], and Oliver [Akademischer Betreuer] Bimber. "Synchronized Illumination Modulation for Digital Video Compositing / Anselm Grundhöfer ; Betreuer: Oliver Bimber." Weimar : Juniorprofessur Augmented Reality, 2010. http://d-nb.info/1115342398/34.
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Subramanian, Anbumani. "Layer Extraction and Image Compositing using a Moving-aperture Lens." Diss., Virginia Tech, 2005. http://hdl.handle.net/10919/28152.
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Image layers are two-dimensional planes, each comprised of objects extracted from a two-dimensional (2D) image of a scene. Multiple image layers together make up a given 2D image, similar to the way a stack of transparent sheets with drawings together make up a scene in an animation. Extracting layers from 2D images continues to be a difficult task. Image compositing is the process of superimposing two or more image layers to create a new image which often appears real, although it was made from one or more images. This technique is commonly used to create special visual effects in movies, videos and television broadcast. In the widely used "blue screen" method of compositing, a video of a person in front of a blue screen is first taken. Then the image of the person is extracted from the video by subtracting the blue portion in the video, and this image is then superimposed on to another image of a different scene, like a weather map. In the resulting image, the person appears to be in front of a weather map, although the image was digitally created. This technique, although popular, imposes constraints on the object color and reflectance properties and severely restricts the scene setup. Therefore layer extraction and image compositing remains a challenge in the field of computer vision and graphics. In this research, a novel method of layer extraction and image compositing is conceived using a moving-aperture lens, and a prototype of the system is developed. In an image sequence captured with this lens attached to a standard camera, stationary objects in a scene appear to move. The apparent motion in images is created due to planar parallax between objects in a scene. The parallax information is exploited in this research to extract objects from an image of a scene, as layers, to perform image compositing. The developed technique relaxes constraints on object color, properties and requires no special components in a scene to perform compositing. Results from various indoor and outdoor stationary scenes, convincingly demonstrate the efficacy of the developed technique. The knowledge of some basic information about the camera parameters also enables passive range estimation. Other potential uses of this method include surveillance, autonomous vehicle navigation, video content manipulation and video compression.Ph. D.
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Hirsh, David E. "Photorealistic Rendering for LIve-Action Video Integration." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/399.
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Mustafa, Mohammad. "Video-Based 3D Textures." Thesis, University of Gävle, Department of Mathematics, Natural and Computer Sciences, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-163.
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A new approach for object replacement in 3D space is presented. Introducing a technique that replaces the older two dimensional (2D) based facial replacement method performed by compositing artist in motion picture productions and video commercial industry.
This method uses 4 digital video cameras filming an actor from 360 degrees, the cameras are placed with 90 degrees in between, the video footage acquired is then used to produce a 3D video texture consisting of video segments taken from different angles representing the object from 3D point of view.
The video texture is then applied to a 3D modelled head matching the geometry of the original object.
Offering the freedom of showing the object from any point of view from 3D space, which is not possible using the current two dimensional method where the actormust at all time face the camera.
The method is described in details with images showing every stage of the process.
Results are presented as still frames taken from the final video footage and as a video file demonstrating them.
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Szabados, Luke. "Splat! Fragmented Space in Experimental Cinema." Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1461940887.
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Sunkavalli, Kalyan. "Models of Visual Appearance for Analyzing and Editing Images and Videos." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10285.
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The visual appearance of an image is a complex function of factors such as scene geometry, material reflectances and textures, illumination, and the properties of the camera used to capture the image. Understanding how these factors interact to produce an image is a fundamental problem in computer vision and graphics. This dissertation examines two aspects of this problem: models of visual appearance that allow us to recover scene properties from images and videos, and tools that allow users to manipulate visual appearance in images and videos in intuitive ways. In particular, we look at these problems in three different applications. First, we propose techniques for compositing images that differ significantly in their appearance. Our framework transfers appearance between images by manipulating the different levels of a multi-scale decomposition of the image. This allows users to create realistic composites with minimal interaction in a number of different scenarios. We also discuss techniques for compositing and replacing facial performances in videos. Second, we look at the problem of creating high-quality still images from low-quality video clips. Traditional multi-image enhancement techniques accomplish this by inverting the camera’s imaging process. Our system incorporates feature weights into these image models to create results that have better resolution, noise, and blur characteristics, and summarize the activity in the video. Finally, we analyze variations in scene appearance caused by changes in lighting. We develop a model for outdoor scene appearance that allows us to recover radiometric and geometric infor- mation about the scene from images. We apply this model to a variety of visual tasks, including color-constancy, background subtraction, shadow detection, scene reconstruction, and camera geo-location. We also show that the appearance of a Lambertian scene can be modeled as a combi- nation of distinct three-dimensional illumination subspaces — a result that leads to novel bounds on scene appearance, and a robust uncalibrated photometric stereo method.Engineering and Applied Sciences
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Poledník, Tomáš. "Detektor ohně ve videu." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2015. http://www.nusl.cz/ntk/nusl-234923.
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{This thesis deals with fire detection in video by colour analysis and machine learning, specifically deep convolutional neural networks, using Caffe framework. The aim is to create a vast set of data that could be used as the base element of machine learning detection and create a detector usable in real application. For the purposes of the project a set of tools for fire sequences creation, their segmentation and automatic labeling is proposed and created together with a large test set of short sequences with artificial modelled fire.
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Pu, Ruonan. "Target-sensitive video segmentation for seamless video composition /." View abstract or full-text, 2007. http://library.ust.hk/cgi/db/thesis.pl?CSED%202007%20PU.
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Omizo, Ryan Masaaki. "Facing Vernacular Video." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339184415.
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Stinson, Samuel D. "Writing with Video Games." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1525803463021262.
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Schirmer, James Robert. "Acquiring Literacy: Techne, Video Games and Composition Pedagogy." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1211307417.
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Rutherford, Kevin J. "Playing/Writing: Connecting Video Games, Learning, and Composition." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1281125116.
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Payling, David. "Visual music composition with electronic sound and video." Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/2047/.
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This research project investigated techniques for composing visual music and achieving balance in the relationship between sound and image. It comprises this thesis and a portfolio of compositions. The investigation began with an interest in the relationships between colour and sound and later expanded to include form and motion, the remaining factors of Thomas Wilfred’s lumia (1947). Working with a cohesive theme, such as lumia, proved to be an effective way of creating a coherent aesthetic in portfolio pieces. Other themes were therefore investigated including composing with visual and audio materials recorded from the single source of Thailand, the wave phenomena of refraction and diffraction and a filmed natural sunset interpreted in electroacoustic music. Two distinct compositional techniques were used, material transference, where qualities were transferred between sound and image, and compositional thinking, which assisted in creating audio-visual compositions that possessed musical qualities. Material transference proved to be the most productive technique during composing and it was discovered that effectuating it algorithmically created a strong bond between sound and image. Compositional thinking assisted in creating the form of the portfolio pieces and was found to apply to both video and music. Compositional thinking was found to be useful at the macro level, where structural form was designed, and material transference worked at a finer micro level, transferring individual qualities between sound and video objects.
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Wu, Tzong-Der. "Rate conversion by transcoding for video composition in multipoint control unit /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6101.
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Olsson, Mica. "Visual composition in video games : Visual analyzation using eye-tracking." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64489.
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This thesis studies how classical fine art theory and visual structure can be applied to predict the viewers attention and use eye-tracking as a tool to gather results. Also if eye-tracking is applicable for testing game environments and how the artist can affect the player’s choices and actions. First it will go through classic art theory and visual structure principles such as image composition, working with color, line and shapes and contrasts between them. Based on the theory an experiment is made using several pictures and predict where the viewer would look and find interesting and gave the viewer a game environment to interact with and see how it also can be applied in interactive media. All data during these experiments is captured using an eye-tracker system which will register the viewer’s eye movement and placement on the monitor screen. Based on the experiment there is still a lot more to research in using eye-tracking for game analysis. Eye-tracking for still images worked very well and the result data was easy to follow and read, but in interactive environment it becomes more abstract and needs to be evaluated more how to best utilize eye-tracking there.Denna rapport undersöks hur man kan applicera teori från klassisk konst och visuell struktur till interaktiva spel-miljöer i realtid och kunna påverka en spelares val och handlingar. Först går den igenom teorin som används inom klassisk konst såsom komposition, arbeta med färger, linjer och former samt kontraster mellan dem. Baserat på teorin används olika bilder där teorin appliceras och förutspår vad tittaren ska kolla och finna intressant och vidare därifrån applicera samma metod men på interaktiv media. All data under dessa undersökningar kommer samlas in användandes av eye-tracking system vilket registrerar tittarens ögats rörelse och placering på en datorskärm. Baserat på resultaten finns det mycket mer att studera inom användning av eye-tracking för spelanalys. Eye-tracking för stillbilder fungerar väldigt bra med klar data att se och läsa, men för interaktiva miljöer blir det snabbt mer abstrakt och behöver utvärderas mer om hur Eye-tracking bäst kan användas där.
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Nadarajan, Gayathri. "Semantics and planning based workflow composition and execution for video processing." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/4757.
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Traditional workflow systems have several drawbacks, e.g. in their inabilities to rapidly react to changes, to construct workflow automatically (or with user involvement) and to improve performance autonomously (or with user involvement) in an incremental manner according to specified goals. Overcoming these limitations would be highly beneficial for complex domains where such adversities are exhibited. Video processing is one such domain that increasingly requires attention as larger amounts of images and videos are becoming available to persons who are not technically adept in modelling the processes that are involved in constructing complex video processing workflows. Conventional video and image processing systems, on the other hand, are developed by programmers possessing image processing expertise. These systems are tailored to produce highly specialised hand-crafted solutions for very specific tasks, making them rigid and non-modular. The knowledge-based vision community have attempted to produce more modular solutions by incorporating ontologies. However, they have not been maximally utilised to encompass aspects such as application context descriptions (e.g. lighting and clearness effects) and qualitative measures. This thesis aims to tackle some of the research gaps yet to be addressed by the workflow and knowledge-based image processing communities by proposing a novel workflow composition and execution approach within an integrated framework. This framework distinguishes three levels of abstraction via the design, workflow and processing layers. The core technologies that drive the workflow composition mechanism are ontologies and planning. Video processing problems provide a fitting domain for investigating the effectiveness of this integratedmethod as tackling such problems have not been fully explored by the workflow, planning and ontological communities despite their combined beneficial traits to confront this known hard problem. In addition, the pervasiveness of video data has proliferated the need for more automated assistance for image processing-naive users, but no adequate support has been provided as of yet. A video and image processing ontology that comprises three sub-ontologies was constructed to capture the goals, video descriptions and capabilities (video and image processing tools). The sub-ontologies are used for representation and inference. In particular, they are used in conjunction with an enhanced Hierarchical Task Network (HTN) domain independent planner to help with performance-based selection of solution steps based on preconditions, effects and postconditions. The planner, in turn, makes use of process models contained in a process library when deliberating on the steps and then consults the capability ontology to retrieve a suitable tool at each step. Two key features of the planner are the ability to support workflow execution (interleaves planning with execution) and can perform in automatic or semi-automatic (interactive) mode. The first feature is highly desirable for video processing problems because execution of image processing steps yield visual results that are intuitive and verifiable by the human user, as automatic validation is non trivial. In the semiautomaticmode, the planner is interactive and prompts the user tomake a tool selection when there is more than one tool available to perform a task. The user makes the tool selection based on the recommended descriptions provided by the workflow system. Once planning is complete, the result of applying the tool of their choice is presented to the user textually and visually for verification. This plays a pivotal role in providing the user with control and the ability to make informed decisions. Hence, the planner extends the capabilities of typical planners by guiding the user to construct more optimal solutions. Video processing problems can also be solved in more modular, reusable and adaptable ways as compared to conventional image processing systems. The integrated approach was evaluated on a test set consisting of videos originating from open sea environment of varying quality. Experiments to evaluate the efficiency, adaptability to user’s changing needs and user learnability of this approach were conducted on users who did not possess image processing expertise. The findings indicate that using this integrated workflow composition and execution method: 1) provides a speed up of over 90% in execution time for video classification tasks using full automatic processing compared to manual methods without loss of accuracy; 2) is more flexible and adaptable in response to changes in user requests (be it in the task, constraints to the task or descriptions of the video) than modifying existing image processing programs when the domain descriptions are altered; 3) assists the user in selecting optimal solutions by providing recommended descriptions.
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Bano, Sophia. "Identification, synchronisation and composition of user-generated videos." Doctoral thesis, Universitat Politècnica de Catalunya, 2016. http://hdl.handle.net/10803/383519.
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The increasing availability of smartphones is facilitating people to capture videos of their experience when attending events such as concerts, sports competitions and public rallies. Smartphones are equipped with inertial sensors which could be beneficial for event understanding. The captured User-Generated Videos (UGVs) are made available on media sharing websites. Searching and mining of UGVs of the same event are challenging due to inconsistent tags or incorrect timestamps. A UGV recorded from a fixed location contains monotonic content and unintentional camera motions, which may make it less interesting to playback. In this thesis, we propose the following identification, synchronisation and video composition frameworks for UGVs.
We propose a framework for the automatic identification and synchronisation of unedited multi-camera UGVs within a database. The proposed framework analyses the sound to match and cluster UGVs that capture the same spatio-temporal event, and estimate their relative time-shift to temporally align them. We design a novel descriptor derived from the pairwise matching of audio chroma features of UGVs. The descriptor facilitates the definition of a classification threshold for automatic query-by-example event identification. We contribute a database of 263 multi-camera UGVs of 48 real-world events. We evaluate the proposed framework on this database and compare it with state-of-the-art methods. Experimental results show the effectiveness of the proposed approach in the presence of audio degradations (channel noise, ambient noise, reverberations).
Moreover, we present an automatic audio and visual-based camera selection framework for composing uninterrupted recording from synchronised multi-camera UGVs of the same event. We design an automatic audio-based cut-point selection method that provides a common reference for audio and video segmentation. To filter low quality video segments, spatial and spatio-temporal assessments are computed. The framework combines segments of UGVs using a rank-based camera selection strategy by considering visual quality scores and view diversity. The proposed framework is validated on a dataset of 13 events (93~UGVs) through subjective tests and compared with state-of-the-art methods. Suitable cut-point selection, specific visual quality assessments and rank-based camera selection contribute to the superiority of the proposed framework over the existing methods. Finally, we contribute a method for Camera Motion Detection using Gyroscope for UGVs captured from smartphones and design a gyro-based quality score for video composition. The gyroscope measures the angular velocity of the smartphone that can be use for camera motion analysis. We evaluate the proposed camera motion detection method on a dataset of 24 multi-modal UGVs captured by us, and compare it with existing visual and inertial sensor-based methods. By designing a gyro-based score to quantify the goodness of the multi-camera UGVs, we develop a gyro-based video composition framework. A gyro-based score substitutes the spatial and spatio-temporal scores and reduces the computational complexity. We contribute a multi-modal dataset of 3 events (12~UGVs), which is used to validate the proposed gyro-based video composition framework.El incremento de la disponibilidad de teléfonos inteligentes o smartphones posibilita a la gente capturar videos de sus experiencias cuando asisten a eventos así como como conciertos, competiciones deportivas o mítines públicos. Los Videos Generados por Usuarios (UGVs) pueden estar disponibles en sitios web públicos especializados en compartir archivos. La búsqueda y la minería de datos de los UGVs del mismo evento son un reto debido a que los etiquetajes son incoherentes o las marcas de tiempo erróneas. Por otra parte, un UGV grabado desde una ubicación fija, contiene información monótona y movimientos de cámara no intencionados haciendo menos interesante su reproducción. En esta tesis, se propone una identificación, sincronización y composición de tramas de vídeo para UGVs. Se ha propuesto un sistema para la identificación y sincronización automática de UGVs no editados provenientes de diferentes cámaras dentro de una base de datos. El sistema propuesto analiza el sonido con el fin de hacerlo coincidir e integrar UGVs que capturan el mismo evento en el espacio y en el tiempo, estimando sus respectivos desfases temporales y alinearlos en el tiempo. Se ha diseñado un nuevo descriptor a partir de la coincidencia por parejas de características de la croma del audio de los UGVs. Este descriptor facilita la determinación de una clasificación por umbral para una identificación de eventos automática basada en búsqueda mediante ejemplo (en inglés, query by example). Se ha contribuido con una base de datos de 263 multi-cámaras UGVs de un total de 48 eventos reales. Se ha evaluado la trama propuesta en esta base de datos y se ha comparado con los métodos elaborados en el estado del arte. Los resultados experimentales muestran la efectividad del enfoque propuesto con la presencia alteraciones en el audio. Además, se ha presentado una selección automática de tramas en base a la reproducción de video y audio componiendo una grabación ininterrumpida de multi-cámaras UGVs sincronizadas en el mismo evento. También se ha diseñado un método de selección de puntos de corte automático basado en audio que proporciona una referencia común para la segmentación de audio y video. Con el fin de filtrar segmentos de videos de baja calidad, se han calculado algunas medidas espaciales y espacio-temporales. El sistema combina segmentos de UGVs empleando una estrategia de selección de cámaras basadas en la evaluación a través de un ranking considerando puntuaciones de calidad visuales y diversidad de visión. El sistema propuesto se ha validado con un conjunto de datos de 13 eventos (93 UGVs) a través de pruebas subjetivas y se han comparado con los métodos elaborados en el estado del arte. La selección de puntos de corte adecuados, evaluaciones de calidad visual específicas y la selección de cámara basada en ranking contribuyen en la mejoría de calidad del sistema propuesto respecto a otros métodos existentes. Finalmente, se ha realizado un método para la Detección de Movimiento de Cámara usando giróscopos para las UGVs capturadas desde smartphones y se ha diseñado un método de puntuación de calidad basada en el giro. El método de detección de movimiento de la cámara con una base de datos de 24 UGVs multi-modales y se ha comparado con los métodos actuales basados en visión y sistemas inerciales. A través del diseño de puntuación para cuantificar con el giróscopo cuán bien funcionan los sistemas de UGVs con multi-cámara, se ha desarrollado un sistema de composición de video basada en el movimiento del giroscopio. Este sistema basado en la puntuación a través del giróscopo sustituye a los sistemas de puntuaciones basados en parámetros espacio-temporales reduciendo la complejidad computacional. Además, se ha contribuido con un conjunto de datos de 3 eventos (12 UGVs), que se han empleado para validar los sistemas de composición de video basados en giróscopo.
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Sichter, Patrick John Harrington. "Embodied Narratives in Video Games: The Stories We Write as We Play." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/366.
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ABSTRACT
This article explores the nature of narrative in video games, and how it can be applied to the contemporary classroom to help teach literature and composition. Specifically, it is concerned with the idea of embodiment in video games. First proposed by theorist James Gee, embodiment is a word describing the phenomenon wherein a player inhabits the character that s/he plays. This article takes the idea of embodiment a step further, by introducing the idea of the embodied narrative, the idea that players do not only embody their characters, but those characters’ stories as well, and are composing unique, personal stories as they play. This article also explores the importance of narrative in teaching writing, as narrative and stories are fundamental to the ways in which we think and learn. It proposes that, because video games are a literary medium in which composition is actively taking place, they have the potential to be used in literature and composition classrooms alongside, or even in place of, more traditional methods of teaching. In addition, they can serve as an excellent way of integrating the study of narrative into the composition classroom.
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Alaei, Bahareh B. "Producing as a listener| A choric approach to video as a medium of invention." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1526888.
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For over two decades, scholars in rhetoric and composition studies have been invested in helping to shape and adapt writing studies as institutions of higher learning negotiate conceptualizations of subjects and knowledge production in digital culture. The canon of invention, in particular, has propelled forth theories and practices that resist hermeneutic modes of knowledge production and instead advocate invention as performance. Inspired by the aforementioned scholarship, Victor Vitanza's call for knowledge production that relies on the language games of paralogy, Gregory Ulmer's heuretics, and Sarah Arroyo and Geoffrey Carter's participatory pedagogy, this thesis puts forth a method of invention entitled "producing as a listener." This methodology harnesses the potential of video editing software and video sharing ecologies as choric sites of invention, relies on the reconceptualization of subjects as whatever singularities, and invites electrate and proairetic lines of reasoning wherein video composers invent and write as listeners.
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Whelan, Sean B. "Bridging the Gap: Transfer Theory and Video Games in the Writing Classroom." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1596105943440043.
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Hutchens, Jason. "EDUCATIONAL HANDHELD VIDEO: EXAMINING SHOT COMPOSITION, GRAPHIC DESIGN, AND THEIR IMPACT ON LEARNING." Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2930.
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Formal features of video such as shot composition and graphic design can weigh heavily on the success or failure of educational videos. Many studies have assessed the proper use of these techniques given the psychological expectations that viewers have for video programming (Hawkins et al., 2002; Kenny, 2002; Lang, Zhou, Schwardtz, Bolls, & Potter, 2000; McCain, Chilberg, & Wakshlag, 1977; McCain & Repensky, 1972; Miller, 2005; Morris, 1984; Roe, 1998; Schmitt, Anderson, & Collins, 1999; Sherman & Etling, 1991; Tannenbaum & Fosdick, 1960; Wagner, 1953). This study examined formal features within the context of the newly emerging distribution method of viewing video productions on mobile handheld devices. Shot composition and graphic design were examined in the context of an educational video to measure whether or not they had any influence on user perceptions of learning and learning outcomes. The two formal features were modified for display on 24 inch screens and on 3.5 inch or smaller screens. Participants were shown one of the four modified treatments, then presented with a test to measure whether or not the modified formal features had any impact or influence on learning outcomes from a sample of 132 undergraduate college students. No significant differences were found to occur as a result of manipulation of formal features between the treatment groups.Ed.D.
Department of Educational Research, Technology and Leadership
Education
Educational Leadership EdD
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Hutchens, Jason Scott. "Educational handheld video examining shot composition, graphic design, and their impact on learning /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002371.
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Lucas, Stephen 1985. "Virtual Stage: Merging Virtual Reality Technologies and Interactive Audio/Video." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984124/.
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Virtual Stage is a project to use Virtual Reality (VR) technology as an audiovisual performance interface. The depth of control, modularity of design, and user immersion aim to solve some of the representational problems in interactive audiovisual art and the control problems in digital musical instruments. Creating feedback between interaction and perception, the VR environment references the viewer's behavioral intuition developed in the real world, facilitating clarity in the understanding of artistic representation. The critical essay discusses of interactive behavior, game mechanics, interface implementations, and technical developments to express the structures and performance possibilities. This discussion uses Virtual Stage as an example with specific aesthetic and technical solutions, but addresses archetypal concerns in interactive audiovisual art. The creative documentation lists the interactive functions present in Virtual Stage as well as code reproductions of selected technical solutions. The included code excerpts document novel approaches to virtual reality implementation and acoustic physical modeling of musical instruments.
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Thompson, Michael A. "And drops of rain fall like tears a composition for electroacoustic music and video /." connect to online resource, 2002. http://www.library.unt.edu/theses/open/20021/thompson%5Fmichael/index.htm.
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Lillios, Elainie. "Earth Ascending: A Composition in Three Movements for Female Voice, Electroacoustic Music, and Video." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2627/.
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Earth Ascending is a composition in three movements scored for female voice, electroacoustic music, and video. Composed in the Year 2000, Earth Ascending lasts approximately sixteen minutes and was created specifically for live performance in which all three elements combine to create a sonic and visual environment. As such, no single element has greater importance than any other, with each of the three performing forces assuming a foreground role at various times throughout the work. Earth Ascending is defined by a single poem written by contemporary female British poets Jeni Counzyn, Jehanne Mehta, and Cynthia Fuller. The movements are named according to the title of each poem: Earth-Body, Light-Body; Wringcliff Beach; and Pool. The movements are separated in performance by five seconds of silence and black on the video screen. The paper accompanying the score of Earth Ascending is divided into five chapters, each discussing in detail an element central to the composition itself. The Introduction presents background information, general ideas, and approaches undertaken when creating the work. Chapters 1 through 3 investigate in detail the content of the electroacoustic music, voice, and video. Chapter 4 discusses scoring techniques, revealing approaches and methods undertaken to solve issues relating to notation and ways of accurately representing sound, pitch, and rhythm within the context of a mixed media work. Chapter 5 presents information relevant to the live performance of the piece.
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Thompson, Michael Allen. "And Drops of Rain Fall Like Tears: A Composition for Electroacoustic Music and Video." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3111/.
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And Drops of Rain Fall Like Tears is a composition for electroacoustic music with an optional ambient video component. The composition consists of a single movement electroacoustic work twenty-two minutes in duration. The piece creates an immersive sonic environment within the confines of a typical concert space, thereby recreating the powerful temper and subtle beauty of nature from different sonic perspectives. The paper is divided into four chapters, each discussing an element of the piece in detail. The introduction presents background information and compositional approach for the composition. Chapters 1 through 4 present detailed information related to the creation of both the electroacoustic music and video elements of the piece. Chapter 4 contains relevant information to the performance of the piece.
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Powers, Jennifer Ann. ""Designing" in the 21st century English language arts classroom processes and influences in creating multimodal video narratives /." [Kent, Ohio] : Kent State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1194639677.
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Thesis (Ph.D.)--Kent State University, 2007.Title from PDF t.p. (viewed Mar. 31, 2008). Advisor: David Bruce. Keywords: multiliteracies, multi-modal literacies, language arts education, secondary education, video composition. Includes survey instrument. Includes bibliographical references (p. 169-179).
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Pinel, Jean-Marie. "Etude des conditions d'éclairement dans une séquence d'images et application à la composition et au codage de scènes bidéo." Rennes 1, 2002. http://www.theses.fr/2002REN10086.
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Dans les applications d'édition vidéo, la construction d'images réalistes suppose la prise en compte des phénomènes d'illumination dans la scène, dans le but d'harmoniser les conditions d'éclairement et d'ombrage des objets vidéo manipulés. Dans ce cadre, la méthode développée permet d'estimer conjointement la position de la source de lumière (grâce à des considérations géométriques simples liant les objets et leurs ombres portées) et la segmentation des ombres portées au cours de la séquence (par prédiction temporelle et analyse texturelle locale, ou avec un modèle d'ombrage et une image de référence). Les résultats obtenus nous permettent de développer des applications de composition vidéo. Une suppression efficace des objets et des ombres portées de la scène d'origine est réalisée. Puis la synthèse d'ombres artificielles, sans aucune considération 3D, permet l'insertion d'objets. Enfin, une dernière application au codage vidéo est aussi proposée, en codant spécifiquement les ombres.
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Miro, Sorólla Carolina. "Architecture d'un accélérateur matériel pour la composition d'objets vidéo MPEG-4 /." Paris : École nationale supérieure des télécommunications, 2000. http://catalogue.bnf.fr/ark:/12148/cb37636061n.
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Hudgins, Donald A. "Rhythm and Views: A Compilation of Eight Projects Including Scoring, Video Production and Motion Graphic Design." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1206070566.
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Blue, Kevin J. "In/retrospection : an interactive audiovisual composition for ten-piece orchestra, electronically manipulated audio, and video." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1365789.
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In/Retrospection is an audiovisual composition employing audio and video in an interactive form, written for a ten-piece orchestra, electronically generated audio, and video that interact with each other in a variety of ways. Not only is the use of overall interaction employed, but each element of the composition is given its own space to develop and take its place in the forefront of the listeners/viewers focus, thus shifting attention to various aspects of the composition. In this way, the composition is neither a video with accompanying audio or audio with accompanying video, but a combination of both forms. On top of this, the electroacoustic portion of the piece, employing both traditional orchestral instruments as well as electronically manipulated sounds and music, adds yet another level of interaction and attention-shifting mechanics to the composition. The constant shifting of the listener's/viewer's focus is the fundamental idea explored in In/Retrospection.School of Music
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Kestner, Randolph. "The Impact and Creation of Level Music for Video Games." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/326.
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This thesis explores the creation of music for a video game level utilizing industry tools for music compositions as well as level design. Music as an element of game design and its resulting impact is also examined.
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Beale, Matthew Carson. "Playing the Writing Game: Gaming the Writing Play." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32006.
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My studies consider the application of digital game theory to the instruction of writing in the first year composition classroom. I frame my argument through dialectic of representation and simulation and the cultural shift now in progress from the latter to the former. I first address the history of multimodal composition in the writing classroom, specifically noting the movement from analysis to design. In the third chapter, I examine several primary tenants of video game theory in relation to traditional academic writing, such as the concept of authorship and the importance of a rule system. My final chapter combines the multimodal and digital game theory to create what I term â digital game composition pedagogy.â The last chapter offers new ways to discuss writing and composing through the theories of video games, and shows how video games extend the theories associated with writing to discussions that coincide with an interest that many of our students have outside of the classroom.Master of Arts
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Saenz, Marshall. "Networks of Interaction: Writing Course Design through Fourth Generation Activity Theory and Principles of Play." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555108005074448.
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Mabury, Brett Mabury Brett. "An investigation into the spectral music idiom and its association with visual imagery, particularly that of film and video." Connect to thesis, 2006. http://portal.ecu.edu.au/adt-public/adt-ECU2007.0038.html.
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Gartland, Connor. "Making Mori: Emotional Depth and the Art of Video Games." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1400681933.
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Ryder, Robert Monier. "Can Instructional Videos Influence Perception of Plagiarism Among First Year Composition (FYC) Students?" University of Findlay / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1463329189.
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Amoako, Richard Opoku. "Metaphors and Emotions in Advertising: A Rhetorical Analysis of Audi’s Online Video Commercials." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3768.
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Advertising often employs metaphor because of its rhetorical utility. By drawing on analogous imagery and language, metaphor has the potential to elicit emotional responses. As the digital age is increasingly saturated with commercial messaging, advertising experts leverage the persuasive power of metaphor and emotion to produce creative, compelling, and memorable commercials. German automobile company Audi employs metaphorical language and imagery in their video advertisements to arouse consumer emotions. In this study, I conduct rhetorical analyses of Audi’s online video commercials in order to: identify instances in their ads that employ metaphorical language and imagery; investigate how those metaphors function rhetorically; and discuss the complex rhetorical interplay between metaphor and emotion. My findings suggest that Audi leverages the power of metaphor to build audiences’ emotional investment in the brand, and therefore, be more likely to purchase Audi vehicles.
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Geisler, Benjamin Jay. "GAMESPECT: A Composition Framework and Meta-Level Domain Specific Aspect Language for Unreal Engine 4." Diss., NSUWorks, 2019. https://nsuworks.nova.edu/gscis_etd/1081.
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Game engine programming involves a great number of software components, many of which perform similar tasks; for example, memory allocation must take place in the renderer as well as in the creation routines while other tasks such as error logging must take place everywhere. One area of all games which is critical to the success of the game is that of game balance and tuning. These balancing initiatives cut across all areas of code from the player and AI to the mission manager. In computer science, we’ve come to call these types of concerns “cross cutting”. Aspect oriented programming was developed, in part, to solve the problems of cross cutting: employing “advice” which can be incorporated across different pieces of functionality.
Yet, despite the prevalence of a solution, very little work has been done to bring cross cutting to game engine programming. Additionally, the discipline involves a heavy amount of code rewriting and reuse while simultaneously relying on many common design patterns that are copied from one project to another. In the case of game balance, the code may be wildly different across two different games despite the fact that similar tasks are being done. These two problems are exacerbated by the fact that almost every game engine has its own custom DSL (domain specific language) unique to that situation. If a DSL could showcase the areas of cross cutting concerns while highlighting the ability to capture design patterns that can be used across games, significant productivity savings could be achieved while simultaneously creating a common thread for discussion of shared problems within the domain.
This dissertation sought to do exactly that- create a metalanguage called GAMESPECT which supports multiple styles of DSLs while bringing aspect-oriented programming into the DSL’s to make them DSAL (domain specific aspect languages). The example cross cutting concern was game balance and tuning since it’s so pervasive and important to gaming. We have created GAMESPECT as a language and a composition framework which can assist engine developers and game designers in balancing their games, forming one central place for game balancing concerns even while these concerns may cross different languages and locations inside the source code. Generality was measured by showcasing the composition specifications in multiple contexts and languages.
In addition to evaluating generality and performance metrics, effectiveness was be measured. Specifically, comparisons were made between a balancing initiative when performed with GAMESPECT vs a traditional methodology. In doing so, this work shows a clear advantage to using a Metalanguage such as GAMESPECT for this task. In general, a line of code reduction of 9-40% per task was achieved with negligible effects to performance. The use of a metalanguage in Unreal Engine 4 is a starting point to further discussions concerning other game engines. In addition, this work has implications beyond video game programming. The work described highlights benefits which might be achieved in other disciplines where design pattern implementations and cross-cutting concern usage is high; the real time simulation field and the field of Windows GUI programming are two examples of future domains.
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Sams, Erin E. "An improved benthic survey method for coral composition and distribution: Habitat Reef, Curaçao." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1355155070.
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Nguyen, Phuong-Hoang. "Acquisition, gestion et composition réparties de flux vidéo dans un environnement de communication ambiante." Grenoble INPG, 2005. http://www.theses.fr/2005INPG0058.
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L'évolution des réseaux sans fil et filaires, et des objets communicants qui y sont connectés va vers une plus grande diversité et une plus grande hétérogénéité, et rend possible un plus fort couplage entre le monde de l'information et le monde physique par l'intermédiaire de tous ces objets. Les intergiciels répartis doivent évoluer pour permettre aux applications de s'adapter aux possibilités et contraintes nouvelles offertes par les combinaisons possibles de ces réseaux et de ces objets. Cette thèse propose de palier aux limitations des intergiciels multimédia actuels pour les adapter à ces évolutions. Pour atteindre cet objectif, nous avons étudié une architecture logicielle qui fournit des services de base d'acquisition et de traitement multimédia. Ces composants de services multimédia permettent de réaliser rapidement de nouvelles applications de communication audio-visuelle, basées sur des dispositifs d'interface répartis. Sur la base de réseaux hétérogènes, nous voulons offrir des services banalisés d'acquisition et de composition de flux vidéo permettant de développer un environnement de communication " ambiante" adaptative au contexte. Une description de l'environnement réel issue du modèle graphique Web3D est proposée pour composer les flux multimédias issus de capteurs répartis. Nous validons nos approches par la mise en œuvre d'un environnement de co-présence visuelle, qui généralise les services classiques de visioconférence avec une acquisition vidéo panoramique multi-caméras. Dans l'expérimentation, nous avons réussit à exploiter au maximum les capacités des réseaux haut débit pour diminuer les charges de traitement des serveurs et terminauxEvolutions of pervasive networks and networked smart devices make possible a stronger coupling between the world of information and the physical world, yet they are also leading towards an increased diversity and heterogeneity. Distributed middleware must evolve to adapt to the new constraints imposed by these evolutions. The problem addressed in this thesis involves the extension of current and future multimedia frameworks to meet the requirements of these new pervasive communication environments. To achieve this goal, we studied a software model, which provides basic services for the acquisition processing and composition of video allowing to develop a context-aware environ ment for ambient communication. A multimedia framework for video acquisition and composition is specified using a model of virtual device component. An event-based control mechanism for management of video sensor has a\so been implemented. To describe the real environment captured from distributed sensors, configuration information is described dynamically using a formalism drawn from modelling of 3D virtual environments. The application of our work is to offer an ambient-sharing environment using a panoramic video acquisition from multiple cameras. The experimentation validated our conceptual propositions on future communication platform for high throughput Gigabit networks, using network bandwidth to decrease the processing load of server and terminais
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Kozdras, Deborah. "From Real to Reel: Performances of Influential Literacies in the Creative Collaborative Processes and Products of Digital Video Composition." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1687.
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In this study, I used a lens of performance theory to examine the creative collaborative processes of middle school students who composed digital videos. More specifically, I investigated the multiliteracies involved in a filmmaking camp and how students performed those literacies in ways that influenced the composition processes and the resulting texts. In order to study collaborative composition processes, I used ethnographic methods. In order to analyze data, I employed a mixed methodology of constant comparative analysis and dramaturgical analysis of interactions in three main informant groups in order to understand how students used multiple literacies to influence the composition processes and products. During these processes, students employed tactics and style to gain authority over designing group attention to their ideas. This resulted in an overall model of PAID Attention (paying attention, attracting attention, immersing attention, and designing attention). The use of influential literacies in this project was two-fold: students used literacies to influence texts, and as a result, those texts required the students' attention. Furthermore, when the students paid attention to the emerging task-at-hand, they were able to gain authority and agency for designing attention (to their texts by an audience) through influential performances of literacies. As found in this study, these patterns were not a solid package of cultural norms. Rather, the style emerged with the text and transformed with the different multiliteracies required during composition processes as students performed literacy knowledge. This study initiated an examination of influential literacy performances as the use of creative tactics during collaborative composition processes. I recommend further work examining multiliteracies as knowledge performances in a variety of settings in order to develop models to help students influence texts with their creative ideas and gain authority in collaborative groups.
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Machado, João Carlos. "Do ritimifiqueitor ao remiquistifiqueitor : trânsitos entre a materialidade e a imaterialidade." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/70263.
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A pesquisa parte da investigação sobre as relações entre música, sonoridade e artes visuais presentes numa produção plástica que lança mão de linguagens e meios distintos, envolvendo aparelhos sonoros e composições em vídeo e em performance. A tese propõe a existência de um lugar do fazer artístico situado entre esses diversos meios, onde o trânsito e as trocas entre eles se tornam possíveis, permitindo um olhar que parte tanto da especificidade de cada um como das questões que estão situadas entre eles ou, ainda, além deles. É nestas condições que ocorrem os desdobramentos entre o fazer material e imaterialidade das ideias ou considerações intelectuais ligadas a eles, possibilitando passagens das operações técnicas para as operações conceituais. O texto segue a ordem cronológica de criação dos trabalhos para ordenar e analisar a complexidade e a multiplicidade presentes no entrecruzamento de noções e práticas da música, das artes visuais, da imagem em movimento, do objeto, da escultura, do vídeo e da performance. Para tanto, fez-se igualmente necessário trazer abordagens próprias de cada uma destas áreas, aproximado-as e comparando-as, na medida em que a produção plástica pertencente ao corpo da pesquisa demandava.The research initiates from investigation on the relationship between music, sound and visual arts present in plastic production that makes use of different languages and media involving sound devices, video compositions and performance. The thesis proposes the existence of a place of artistic making situated between these various medias, where traffic and trade between them become possible, enabling a look that both starts of the specificity of each one of the issues as are situated between them or, moreover, beyond them. It is under these conditions that occur developments between material acting and immaterial ideas or intellectual considerations linked to them, allowing passages of technical operations for conceptual operations. The text follows the chronological order of creation of the work to sort and analyze the complexity and multiplicity present in the intersection of notions and practices of music, the visual arts, the moving image, object, sculpture, video and performance. To this end, it was also necessary to bring approaches of each of these areas approximate them and comparing them to the extent that production plastic belonging to the body of research demanded.
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Young, David M. "Adaptive Game Music: The Evolution and Future of Dynamic Music Systems in Video Games." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340112710.
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Lee, Seungyon-Seny. "Idiosyncrasy : pleasure, anger, lament and joie : an eight channel for real-time interaction composition for tape, mezzo-soprano and video /." May be available electronically:, 2002. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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D.M.A. final project--Department of Music, Stanford University, 2002.Introductory materials in English include program notes, performance instructions, technical requirements, staging diagrams, and video image examples. Duration: ca. 14:30.
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Kpedor, Dorm. "Personification in Advertising: A Rhetorical Analysis of Digital Video Ads in the Insurance Industry." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3894.
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Major companies in the insurance industry—notably Allstate, Progressive, and Farmers—often employ personification as a creative rhetorical tool in digital video advertisements. By leveraging brand characters in various ways, these companies seek to establish trust and engender emotional impact in customers. Allstate ascribes destructive characteristics that are associated with house cats to its Mayhem character; in doing so they evoke the desired emotional responses of humor and fear. Progressive creates and deploys the Motaur character, a visual personification and play on the Centaur; in this case, the company’s rhetorical strategy is to evoke humor and nostalgia that resonate with motorcycle owners. Farmers’ strategy is to win customers by demonstrating experience and empathy; they do so with the Professor Burke character, whose professorial ethos functions to evoke feelings of trust. I employ the Elaboration Likelihood Model (ELM) in my analysis to explore the relationships between personification, emotional appeals, and persuasion.
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August, Morganne Tinsley. "Magic at the Crossroads: the Rise of the Video Essay." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4299.
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This thesis examines the birth, rise in popularity, and evolution of the video essay, a subgenre of the essay found recently in online literary journals. Chapter one provides a brief history of the alphabetic essay as it expands to include photo essays, audio essays, and essay-films. The second chapter outlines the history of the online literary journal and John Bresland’s role in the introduction of the video essay as it appears in online journals. Chapter three contains an examination of the way image, text, and sound function in video essays and the tools and strategies essayists are using to create them. The fourth chapter is composed of three case studies of Bresland’s work in an attempt to analyze the continuing evolution and breadth of the form.
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Cunat, Christophe. "Accélération matérielle pour le rendu de scènes multimédia vidéo et 3D." Phd thesis, Télécom ParisTech, 2004. http://tel.archives-ouvertes.fr/tel-00077593.
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Un processus de convergence des techniques algorithmiques de deux domaines autrefois disjoints, convergence facilité par l'émergence de normes telles que MPEG-4, s'est engagé au cours de ces dernières années. Grâce au concept de codage par objets, une scène peut être reconstituée par la composition de divers objets dans un ordre déterminé. Cette thèse s'inscrit dans le cadre de la composition d'objets visuels qui peuvent être de natures différentes (séquences vidéo, images fixes, objets synthétiques 3D, etc.). Néanmoins, les puissances de calcul nécessaires afin d'effectuer cette composition demeurent prohibitives sans mise en place d'accélérateurs matériels spécialisés et deviennent critiques dans un contexte de terminal portable.
Une revue tant algorithmique qu'architecturale des différents domaines est effectuée afin de souligner à la fois les points de convergence et de différence. Ensuite, trois axes (interdépendants) de réflexions concernant les problématiques de représentation des données, d'accès aux données et d'organisation des traitements sont principalement discutés.
Ces réflexions sont alors appliquées au cas concret d'un terminal portable pour la labiophonie : application de téléphonie où le visage de l'interlocuteur est reconstruit à partir d'un maillage de triangles et d'un placage de texture. Une architecture unique d'un compositeur d'image capable de traiter indifféremment ces objets visuels est ensuite définie. Enfin, une synthèse sur une plateforme de prototypage de cet opérateur autorise une comparaison avec des solutions existantes, apparues pour la plupart au cours de cette thèse.
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Nordblom, Mattias. "Produktionens Progression : En självstudie i musikmakarens förtrollade resa." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-77903.
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In this independent work, an exploration of a learning process takes place in the creation and developing of three different musical compositions. The study originates in the design theoretical perspective with support from literature and research related to music making and composition. The study is based on observation through video documentation during autumn 2019. The result is divided into three themes: Initial of the production, Development of the production and Final phase of the production. The result then presents the answer of the framing of a question this study is designed for. In conclusion the result is set in relation to selected literature, research and design theoretical perspective through a discussion chapter.I detta självständiga arbete utforskas en lärandeprocess i skapandet och utvecklandet av tre olika musikaliska kompositioner. Studien utgår utifrån ett designteoretiskt perspektiv med stöd i litteratur och forskning relaterat till musikskapande och komposition. Studien baseras på observation genom videodokumentation under hösten 2019. Resultatet delas upp i tre teman: Produktionens begynnelse, Utvecklandet av produktionen och Produktionens slutfas. I resultatet presenteras svaret på de frågeställningar studien är utformat efter. Avslutningsvis sätts resultatet i relation till vald litteratur, forskning och designteoretiskt perspektiv i ett diskussionskapitel.