Relevant bibliographies by topics / Videography

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Videography'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 January 2023

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Journal articles on the topic "Videography"

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STUTTE, GARY. "Videography." Journal of Sustainable Agriculture 1, no. 3 (May 22, 1991): 81–93. http://dx.doi.org/10.1300/j064v01n03_07.

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Skoglund, Annika, David Redmalm, and Karin Berglund. "Videography – studying ethical uncertainty in alternative entrepreneurship." Society and Business Review 15, no. 4 (November 19, 2020): 305–24. http://dx.doi.org/10.1108/sbr-06-2019-0087.

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Purpose The purpose of this paper is to develop videographic methods for the study of alternative entrepreneurship, with a theoretical focus on “ethical uncertainties”, exemplified in this paper by the exploration of evolving actions and unpredictable outcomes in a specific case, the Hungarian company Prezi. Design/methodology/approach By first situating Prezi’s alternative entrepreneurship in the turbulent Hungarian political context and situation for the Roma population, this study presents how the methodological foundations of organizational videography have affirmed aesthetic immersion, which is of particular use for the study of ethical uncertainty. Findings Following a methodological exploration of the specific research design and ethnographic reflections on three ways in which ethical uncertainties arise, this study discusses the videographic possibilities to study something as elusive as ethical uncertainty and its link to alternative futures. Originality/value The political context in Hungary poses many challenges for organizations that attempt to “do good” and create alternative futures. This paper explains how this political context permeates Prezi’s entrepreneurship and research thereof, by highlighting “ethical uncertainty”. The combined contribution (paper and videography) invites the reader to think differently about the authority of research, become a viewer and reflect on their own experiences of ethical uncertainty in alternative entrepreneurship.
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Heck, Rachel, Michael Wallick, and Michael Gleicher. "Virtual videography." ACM Transactions on Multimedia Computing, Communications, and Applications 3, no. 1 (February 2007): 4. http://dx.doi.org/10.1145/1198302.1198306.

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Hietanen, Joel, and Joonas Rokka. "Companion for the videography ‘Monstrous Organizing—The Dubstep Electronic Music Scene’." Organization 25, no. 3 (November 16, 2017): 320–34. http://dx.doi.org/10.1177/1350508417738572.

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This companion essay contributes to video-based organizational research by critically assessing conventional representational modes of videographic practice and conceptualizing an ‘expressive’ ontology for videographic research. We offer an image of thought that foregrounds the creative and powerfully affective potential of both videographic work and spectatorship. To advance this perspective and to inspire future research, we present our videography (length 30 minutes) that integrates various ‘expressive’ elements in montage form. We use the film to scrutinize the potential of video-based research and several methodological considerations tied to it. In doing so, we argue that video-based organizing of research activities can be seen as ‘monstrous’, an entire emergent mode of aesthetic storytelling that comes into being not in ‘capturing’ or ‘recording’, but rather as an affective production of potentialities.
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Widada, Sugeng, Adi Kusuma Widya Tama, and Muhamad Rendi Purnama. "Teknik Dasar Menggunakan Videografi Di Dunia Broadcasting." CICES 5, no. 1 (February 28, 2019): 74–81. http://dx.doi.org/10.33050/cices.v5i1.572.

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Along with the changing times and by utilizing the latest technological sophistication videography can be enjoyed in various ways and any variety of formats offered by technology experts in the world.There are currently 2 types of videos are available, namely analog and digital.A videographer categorized or categorize themselves into two, namely the amateur videographer and professional videographer.Amateur or professional, in fact is only the term and sheer status. Unfortunately, it seems there is a presumption of amateur videographer if the result is definitely not good.And because the feel just amateurs, someone feel legitimate only if the video footage is not good.Instead, there is a presumption that a professional videographer can certainly produce good images.
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KAKEHASHI, AKIHIRO, MASANORI KADO, JUN AKIBA, and HIROYUKI HIROKAWA. "BIOMICROSCOPIC VITREOUS VIDEOGRAPHY." Retina 15, no. 6 (1995): 508???512. http://dx.doi.org/10.1097/00006982-199501560-00009.

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KAKEHASHI, AKIHIRO, MASANORI KADO, JUN AKIBA, and HIROYUKI HIROKAWA. "BIOMICROSCOPIC VITREOUS VIDEOGRAPHY." Retina 15, no. 6 (1995): 508–12. http://dx.doi.org/10.1097/00006982-199515060-00009.

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Giorza, Theresa. "Videography as Refrain." Video Journal of Education and Pedagogy 4, no. 1 (December 5, 2019): 116–37. http://dx.doi.org/10.1163/23644583-00401002.

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A public park adjacent to an inner-city preschool invites children and their teacher into new encounters with the world, literacy and themselves. The park and preschool are situated in the inner-city of Johannesburg, South Africa. In this article, the researcher performs as mutated-modest-witness of events that unfold in lively materialdiscursive encounters between children, grass, friendship, a pen, cement table, sand, sticks, the alphabet and daylight. The agential realism of Karen Barad and the nomadic thinking of Deleuze and Guattari offer ways of re-imagining ‘the child in the park’. Diffracting with repeated viewings of video clips the researcher finds that forward and reverse movement and stops in different moments throughout repeated viewings of the same video footage produces different and new ‘stories’ about the events and the children involved. Conceptions of ‘child’ as literacy learner and of researcher-as-writer mutate through this diffraction which instantiates a non-representational videography practice.
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Dinhopl, Anja, and Ulrike Gretzel. "Conceptualizing tourist videography." Information Technology & Tourism 15, no. 4 (November 27, 2015): 395–410. http://dx.doi.org/10.1007/s40558-015-0039-7.

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Huebscher, H. J., D. E. Möller, and T. Seiler. "Laser Scheimpflug Videography." Ophthalmic Research 28, no. 2 (1996): 127–30. http://dx.doi.org/10.1159/000267967.

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Dissertations / Theses on the topic "Videography"

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Prantl, Daniel, and Christopher Wallbaum. "Videography on the Way to the Analytical Short Film: Managing the ambiguity in interaction regarding video material." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34614.

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This chapter gives a brief overview of research methods using video material, lead by the question how these manage the ambiguity lying in interaction regarding this footage. The argument is put forward that, from a perspective of symbolic interactionism, in order to adequately make assertions regarding video material it is necessary to use video itself as a key statement in scientific discourse.
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Griffiths, David John. "Developmemt of High Speed High Dynamic Range Videography." Diss., Virginia Tech, 2017. http://hdl.handle.net/10919/74990.

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High speed video has been a significant tool for unraveling the quantitative and qualitative assessment of phenomena that is too fast to readily observe. It was first used in 1852 by William Henry Fox Talbot to settle a dispute with reference to the synchronous position of a horse's hooves while galloping. Since that time private industry, government, and enthusiasts have been measuring dynamic scenarios with high speed video. One challenge that faces the high speed video community is the dynamic range of the sensors. The dynamic range of the sensor is constrained to the bit depth of the analog to digital converter, the deep well capacity of the sensor site, and baseline noise. A typical high speed camera can span a 60 dB dynamic range, 1000:1, natively. More recently the dynamic range has been extended to about 80 dB utilizing different pixel acquisition methods. In this dissertation a method to extend the dynamic range will be presented and demonstrated to extend the dynamic range of a high speed camera system to over 170 dB, about 31,000,000:1. The proposed formation methodology is adaptable to any camera combination, and almost any needed dynamic range. The dramatic increase in the dynamic range is made possible through an adaptation of the current high dynamic range image formation methodologies. Due to the high cost of a high speed camera, a minimum number of cameras are desired to form a high dynamic range high speed video system. With a reduced number of cameras spanning a significant range, the errors on the formation process compound significantly relative to a normal high dynamic range image. The increase in uncertainty is created from the lack of relevant correlated information for final image formation, necessitating the development of a new formation methodology. In the proceeding text the problem statement and background information will be reviewed in depth. The development of a new weighting function, stochastic image formation process, tone map methodology, and optimized multi camera design will be presented. The proposed methodologies' effectiveness will be compared to current methods throughout the text and a final demonstration will be presented.
Ph. D.
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Wallbaum, Christopher. "The analytical short film: Form – Functions – Excursus – Criteria." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34615.

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This chapter presents the form of the Analytical Short Film (ASF), its functions for communication, education and research and criteria for its validity. Embedded is a fundamental reflection about the relations between something whole and its parts to give reasons for dealing with blurredness in both, practice in lessons and video practice.
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Shoemaker, James A. "Use of Multispectral Aerial Videography for Jurisdictional Delineation of Wetland Areas." DigitalCommons@USU, 1994. https://digitalcommons.usu.edu/etd/6500.

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Multispectral aerial videography was used to reproduce the jurisdictional delineation of wetland area of approximately 50 hectares in Davis County, Utah Imagery from the system consisted of three-band composite with wavelengths covering 550 nm (±10 nm), 650 nm (±10 nm), and 850 nm (±10 nm). The site was overflown at three different flight dates during the 1992 growing season (June 2, July 22, October 1). Imagery resolution varied from 0.56 m to 0.81 m. Mosaiced images were analyzed with a Supervised clustering/maximum likelihood classifier, ISODATA clustering/Euclidan classifier, statistical clustering/maximum likelihood classifier, and fuzzy c-means clustering. Overall accuracies for wetland/upland designations as compared to ground truth data varied from 60% to 75%. The ISODATA method was the poorest performer for all dates and both of two accuracy testing techniques. Supervised clustering and statistical clustering were comparable with a slight edge in accuracy to the supervised clustering. The best all-round performer was the fuzzy c-means algorithm in terms of time spent and accuracy.
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Cole, Emily Grace. "Estimating Mammalian Densities Using Automated Videography at the Firestone Reserve, Costa Rica." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/299.

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Camera trapping, a process in which images of organisms are captured through the use of motion and or infrared sensor cameras, is frequently used within the field of biology to estimate species density through the capture-recapture method. Classic physics models of density based on the ideal gas constant, however, can be used to estimate the density of an animal population without the need for recognition of individuals. This study adapts one of these models (Rowclife et al. 2008) to the unique data recorded through automated videography or video trapping, and uses it to estimate the population densities of three relatively abundant species on the Firestone Reserve in Costa Rica: Collard Peccaries, Central American Agoutis, and White-tailed Deer. Collard peccaries were found to have a density of 4.93 individuals/km2, Central American Agoutis were found to have a density of 1.01 individuals/km2, and white-tailed deer were found to have a density of 0.50 individuals/km2. The knowledge of species densities can be extremely useful in the context of a reserve. Changes in these estimates can serve as indicators of consequences from poaching, pollution, or climate change, and monitoring them could be very beneficial to the Firestone Reserve.
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Rinaldi, Marcio Antonio [UNESP]. "Ipsis video litteris: processos e procedimentos artísticos da escrita na televisão - videografia." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/87020.

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Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-01-22Bitstream added on 2014-06-13T20:28:58Z : No. of bitstreams: 1 rinaldi_ma_me_ia.pdf: 1613674 bytes, checksum: 88e394fd7ee486a99454e8c31cc4d5ab (MD5)
O presente trabalho tem como objetivo fazer uma abordagem sobre a escrita na televisão pela Videografia e seus processos e procedimentos artísticos, não se restringindo a forma e tamanho da letra, mas analisando os elementos próprios da linguagem televisiva como espaço, tempo movimento, cor e som. Pesquisei os processos que equivalem a criação e o desenvolvimento da Videografia, as questões técnicas inerentes ao meio televisivo, os procedimentos que permitem maior legibilidade e visualidade,ou seja, que privilegiam a leitura daquilo que está escrito no vídeo, e quais os processos criativos na aplicaçao de um texto no vídeo para que se estabeleça melhor combinação entre a forma e a técnica. Esse trajeto resultou no Trabalho Equivalente, no qual utilizei parte de minha produção como artista visual e profisssional da área de televisão, para compor uma grade de programação de uma emissora fictícia denomonada TV Trabalho Equivalente, apresentado no DVD que acompanha este Relatório Circunstanciado.
The present work has as its aim to do an approach about writing on television through Videography and its artistic processes and procedures, not only focusing the shape and size if letters, but also analyzing the specific elements of television aesthetics such as apace, time movement, color and sound. I've research the processes involved on creation and development of Videography, the technical issues inherent to television media, the procedures that bring more legibility and visuality. In other words, procedures which privilege the reading of what is written on TV screen and the creative procedures used to apply a text on screen, in order to establish the best combination between form and technique. This research resulted into the Trabalho Equivalente (Equivalente Work), in which used part of my production as a visual artist and television professional to compose a programming schedule of a fictional television broadcast named TV Trabalho Equivalente, presented on the DVD that goes with this Circumstancial Reporter.
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Rinaldi, Marcio Antonio. "Ipsis video litteris : processos e procedimentos artísticos da escrita na televisão - videografia /." São Paulo : [s.n.], 2006. http://hdl.handle.net/11449/87020.

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Orientador: Pelópodas Cypriano de Oliveira
Resumo : O presente trabalho tem como objetivo fazer uma abordagem sobre a escrita na televisão pela Videografia e seus processos e procedimentos artísticos, não se restringindo a forma e tamanho da letra, mas analisando os elementos próprios da linguagem televisiva como espaço, tempo movimento, cor e som. Pesquisei os processos que equivalem a criação e o desenvolvimento da Videografia, as questões técnicas inerentes ao meio televisivo, os procedimentos que permitem maior legibilidade e visualidade,ou seja, que privilegiam a leitura daquilo que está escrito no vídeo, e quais os processos criativos na aplicaçao de um texto no vídeo para que se estabeleça melhor combinação entre a forma e a técnica. Esse trajeto resultou no Trabalho Equivalente, no qual utilizei parte de minha produção como artista visual e profisssional da área de televisão, para compor uma grade de programação de uma emissora fictícia denomonada TV Trabalho Equivalente, apresentado no DVD que acompanha este Relatório Circunstanciado.
Abstract : The present work has as its aim to do an approach about writing on television through Videography and its artistic processes and procedures, not only focusing the shape and size if letters, but also analyzing the specific elements of television aesthetics such as apace, time movement, color and sound. I've research the processes involved on creation and development of Videography, the technical issues inherent to television media, the procedures that bring more legibility and visuality. In other words, procedures which privilege the reading of what is written on TV screen and the creative procedures used to apply a text on screen, in order to establish the best combination between form and technique. This research resulted into the Trabalho Equivalente (Equivalente Work), in which used part of my production as a visual artist and television professional to compose a programming schedule of a fictional television broadcast named TV Trabalho Equivalente, presented on the DVD that goes with this Circumstancial Reporter.
Mestre
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Drake, Samuel Edward 1960. "Visual interpretation of vegetation classes from airborne videography: An evaluation of observer proficiency with minimal training." Thesis, The University of Arizona, 1993. http://hdl.handle.net/10150/278369.

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This study evaluated the ability of individual subjects and small groups to correctly identify Arizona plant communities from color airvideo footage, explored the relationship of five background variables to subjects' success, and determined which community types were easiest and most difficult for subjects to identify. Forty-six volunteers from the University of Arizona School of Renewable Natural Resources participated in a multiple-choice pretest-posttest experiment using 30 different plant communities depicted in one-minute segments of videotape. Three hours of training increased mean individual score from 7 correct (pretest) to 21 correct (posttest), and mean group score from 11 to 24. All respondents significantly improved their performance, regardless of background. Posttest results showed no significant difference in ability among individuals or between individuals and groups. The most difficult community to identify was creosote-tarbush desertscrub; the easiest was paloverde-saguaro desertscrub. Findings support the feasibility of video interpretation by minimally-trained personnel.
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Kendall, Marshall. "Calculation of the residual error in three-dimensional videography using stationary, panning and mobile video capturing techniques." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/26499.

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Significant technological advancements have been made in the study of human motion over the past few decades. There are three known video capturing techniques for collecting three-dimensional kinematic data; stationary, panning and mobile camera set-ups. The panning and mobile camera techniques allow for the cameras to follow a subject throughout the entire length of the skill while maintain a close-range view of the subject, something the stationary camera set-up does not allow. Accuracy of the panning and mobile camera techniques has not yet been well documented. The main objective of this study is to determine root mean square (RMS) errors of three-dimensional coordinates in a 5.5-meter filming volume using stationary, panning and mobile camera techniques using three specific testing conditions. Although the three camera techniques showed acceptable residual errors throughout the three testing conditions, the mobile technique produced the lowest RMS error for the two out of the three test condition. For the panning and mobile camera set-ups, camera-to-subject distance is much smaller than the static camera technique for a 5.5-meter field. Lamontagne et al reported that residual errors could be minimized when camera-to-subject distance is reduced. The mobile technique produced acceptable accuracy in video analysis (Lafontaine et al., 2000). This technique did reduce the residual errors, of positional coordinates of markers and the vectors length measurements; by 55% and 44% in the gait testing condition respectively from errors obtained using the stationary camera technique. This study allowed for a comparison of three video capturing techniques abilities to collect accurate data over a large filming area. The results show that, although all three camera set-ups produce low residual errors, the mobile camera set-up offers the best accuracy while maintaining a small camera-to-subject distance, allowing for close range studies to be performed successfully.
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Peller, Dominik [Verfasser], and Rupert [Akademischer Betreuer] Huber. "Femtosecond videography and control of single-molecule dynamics with atom-scale lightwaves / Dominik Peller ; Betreuer: Rupert Huber." Regensburg : Universitätsbibliothek Regensburg, 2021. http://d-nb.info/1241825386/34.

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Books on the topic "Videography"

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Cubitt, Sean. Videography. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23099-0.

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United States Holocaust Memorial Museum., ed. Annotated videography. Washington, DC (100 Raoul Wallenberg Place, SW, Washington 20024): U.S. Holocaust Memorial Museum, 1994.

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Sabol, Marcia. Annotated videography. Washington, DC (100 Raoul Wallenberg Place, SW, Washington 20024): U.S. Holocaust Memorial Museum, 1994.

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H, Parsons Charles. An opera videography. Lewiston, N.Y: Edwin Mellen Press, 1997.

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Workshop on Videography (1st 1988 Indiana State University). Videography: First workshop. Falls Church, VA: American Society for Photogrammetry and Remote Sensing, 1988.

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Wedding videography: Start to finish. Boston: Course Technology, 2011.

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Goolsby, John. The business of wedding videography. Mira Loma, CA (P.O. Box 146, Mira Loma 91752): Cannon Video Productions, 1992.

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Bernard, Robert. Practical videography: Field systems and troubleshooting. Boston: Focal Press, 1990.

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Practical videography: Field systems and troubleshooting. Boston: Focal Press, 1990.

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Cubitt, Sean. Videography: Video media as art and culture. London: Macmillan, 1993.

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Book chapters on the topic "Videography"

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Cubitt, Sean. "Videography: The Helical Scan." In Videography, 3–18. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23099-0_1.

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Cubitt, Sean. "Allegory and the Crisis of Signification." In Videography, 172–89. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23099-0_10.

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Cubitt, Sean. "Inconclusion: Electronic Ecology." In Videography, 190–209. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23099-0_11.

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Cubitt, Sean. "Video, Modernity and Modernism." In Videography, 19–35. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23099-0_2.

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Cubitt, Sean. "In Pursuit of the Lost Audience." In Videography, 36–53. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23099-0_3.

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Cubitt, Sean. "The Subject of Art." In Videography, 54–71. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23099-0_4.

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Cubitt, Sean. "Vision: Video in the Field of Film." In Videography, 72–90. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23099-0_5.

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Cubitt, Sean. "Enthusiasm: Video Looks at Television." In Videography, 91–109. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23099-0_6.

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Cubitt, Sean. "Sound: Video, Noise and Music." In Videography, 110–29. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23099-0_7.

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Cubitt, Sean. "Magnetic Memories: Truth, Power and Representation." In Videography, 133–51. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23099-0_8.

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Conference papers on the topic "Videography"

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Heck, Rachel, Michael Wallick, and Michael Gleicher. "Virtual videography." In the 14th annual ACM international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1180639.1180851.

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Sturz, Richard A. "Practical videography." In San Diego '90, 8-13 July, edited by Paul A. Jaanimagi, Barry T. Neyer, and Larry L. Shaw. SPIE, 1991. http://dx.doi.org/10.1117/12.23333.

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Rui, Yong, Anoop Gupta, and Jonathan Grudin. "Videography for telepresentations." In the conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/642611.642691.

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Adrian, Marlene J. "Theories of Analytical Videography." In 30th Annual Technical Symposium, edited by Bernard G. Ponseggi. SPIE, 1986. http://dx.doi.org/10.1117/12.936750.

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Richardt, Christian, James Tompkin, Jiamin Bai, and Christian Theobalt. "User-centric computational videography." In SIGGRAPH '15: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2776880.2792705.

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Sturz, Richard A. "Ballistic videography data analysis." In SPIE's 1994 International Symposium on Optics, Imaging, and Instrumentation, edited by George A. Kyrala and Donald R. Snyder. SPIE, 1994. http://dx.doi.org/10.1117/12.189025.

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Shipman, William A. "Ballistic videography data acquisition." In SPIE's 1994 International Symposium on Optics, Imaging, and Instrumentation, edited by George A. Kyrala and Donald R. Snyder. SPIE, 1994. http://dx.doi.org/10.1117/12.189026.

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Miller, C. E. "High-Speed Videography Overview." In 32nd Annual Technical Symposium, edited by Gary L. Stradling. SPIE, 1989. http://dx.doi.org/10.1117/12.948680.

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Gleicher, Michael, and James Masanz. "Towards virtual videography (poster session)." In the eighth ACM international conference. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/354384.354537.

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Ağlargöz, Feyza. "A PRACTICAL GUIDE TO VIDEOGRAPHY." In International Conference on Business, Management and Economics. Acavent, 2018. http://dx.doi.org/10.33422/icbme.2018.12.28.

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Reports on the topic "Videography"

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Snider, M. A., J. W. Hayse, I. Hlohowskyj, and K. E. LaGory. Capturing the Green River -- Multispectral airborne videography to evaluate the environmental impacts of hydropower operations. Office of Scientific and Technical Information (OSTI), February 1996. http://dx.doi.org/10.2172/195678.

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Sullivan, R. G. Videographic enhancement of GRASS imagery: Recent advances. Office of Scientific and Technical Information (OSTI), June 1992. http://dx.doi.org/10.2172/10179083.

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Sullivan, R. G., and M. C. Vogt. Videographic GIS database documentation project for Ft. Knox, Kentucky: Planning and process. Office of Scientific and Technical Information (OSTI), June 1992. http://dx.doi.org/10.2172/10179197.

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