Bibliografie tematiche / Video recording in the theater

Letteratura scientifica selezionata sul tema "Video recording in the theater"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 24 febbraio 2023

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Articoli di riviste sul tema "Video recording in the theater":

Passos, Mateus Yuri. "The world in a bottle and the archeology of staging: audiovisual recording as registers of opera productions". Comunicação e Sociedade 31 (29 giugno 2017): 39–56. http://dx.doi.org/10.17231/comsoc.31(2017).2603.

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This work focuses on the use of the audiovisual opera recording as a document to analyze contemporary stagings labeled by the German critics as director’s theater [Regietheater]. In director’s theater, Wagner’s total artwork project [Gesamtkunstwerk] achieves a turn in meaning, for the three artistic dimensions of opera – word, music and staging – become different texts. In this paper, we discuss the limitations of audiovisual recording as a register of director’s theater opera stagings, as well as filmic resources that allow for a reconstruction of the audiovisual text of such productions with solutions that are often quite distinct from those adopted on the stage. We are interested above all in problematizing the equivalence that is sometimes established between a staging and its recording – especially in the contemporary context of productions that frequently suffer considerable changes and are characterized by the unique aspect of each performance, always full of singular events and relatively autonomous regarding the general plan of the director. Thus, we will discuss problems and solutions of video direction of audiovisual recordings of stagings of the operatic cycle Der Ring des Nibelungen [The Ring of Nibelungo], by Richard Wagner (1813-1883).

Rubtsova, O. V., T. A. Poskakalova e A. G. Solov’eva. "Drama as an Educational Technology and a Tool for Achieving Personal Educational Results". Психологическая наука и образование 27, n. 1 (2022): 52–64. http://dx.doi.org/10.17759/pse.2022270105.

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The article focuses on the results of the research project “Adolescent Theater as an Activity Technology for Education and Formation of Personal Educational Results", implemented in 2021—2022 by the Center for Interdisciplinary Research on Contemporary Childhood of the Moscow State University of Psychology and Education. The main goal of the project was to substantiate the the efficiency of school theater as a means of education and a tool for developing meta-subject competences and improving personal educational results in adolescents. For achieving this goal, a unique educational program of drama activities (30 sessions of 45 minutes each) was elaborated and trialed in “Starogorodkovskaya School” in Moscow Region. 10 teenagers aged from 13 to 14 years took part in the project. The research methods included: observation, video recording of drama sessions and subsequent analysis of the videos; analysis of the products of the activity (scripts, short videos, poems); regular interviews with teenagers and teachers, who participated in the project. Several case studies are discussed, demonstrating that drama can become an effective technology for education and development of personal educational results in adolescence.

Lewis, L., J. Jones e E. Haynes. "Low-cost video-films in the teaching of undergraduate and postgraduate medical students". Journal of Telemedicine and Telecare 6, n. 2_suppl (agosto 2000): 45–47. http://dx.doi.org/10.1258/1357633001935545.

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The high cost of producing good-quality video-films for teaching has hindered the use of this method, which has been shown to improve significantly the efficiency of teaching and the retention of knowledge. During the last five years, a series of short video-films has been produced using inexpensive video-cameras and home video-recording and editing equipment. A variety of techniques were developed to allow recording of lecture presentations, while using the equipment as a teaching aid, without the need for technical staff. The positioning of the camera, the monitor, the slide projector and lighting were critical to the productions. Similar productions at low cost were obtained from recordings of operating theatre sessions, tutorials and clinical ward rounds. A survey of students exposed to teaching with video-film as part of a lecture presentation confirmed that the subject matter being taught was more easily understood and enjoyable and generated more discussions on than other forms of teaching.

Chapaev, Grigory I., e Maria N. Chistyakova. "Ballet and Drama: the Peculiarities of Expressive Scenographic Means in the Post-Classical Theater". ICONI, n. 3 (2021): 29–36. http://dx.doi.org/10.33779/2658-4824.2021.3.029-036.

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A characteristic feature of the theater of the Post-Classical Era, which has lasted from the early 20th century up to the present time, is the interpenetration of elements pertaining to different art forms in the course of a ceaseless search for forms and means of impact on the audience. The interaction between ballet and drama theater leads to the result that one of the genres is enriched by the scenographic solutions of the other. From a broad spectrum of examples, it is possible to highlight a number of techniques characteristic for both the dramatic and the ballet stage. In the present work such scenographic techniques are determined and described as the changes of the parameters of the stage by means of a curtain system, the use of a curtain as a full-fledged member of the action, simultaneity (the simultaneous demonstration of several different places of action in one scene), the multi-leveledness of the stage space, adaptation for the cinema (use of elements of cinema, video-recording or the technique of “recording in real time” in the performance), as well as the change of decorations occurring in front of the viewer’s eyes.

de Marinis, Marco. "‘A Faithful Betrayal of Performance’: Notes on the Use of Video in Theatre". New Theatre Quarterly 1, n. 4 (novembre 1985): 383–89. http://dx.doi.org/10.1017/s0266464x00001809.

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Video recording has recently become an accessible, unobtrusive, and increasingly inexpensive way of making a permanent record of theatrical performances. This might seem to anticipate a revolution in theatre studies, once the theatre of the present has become the object of study by future generations: yet little thought has been given to the dramaturgical or the pedagogic implications of this new tool. How, for example, will the medium affect the message it transmits, by the way in which it makes permanent what is in essence ephemeral, and ‘fixes’ what is constantly changing? Marco de Marinis here offers some tentative thoughts about the ‘how’ and ‘why’ of the audiovisual recording of theatre, intended not so much to present a definitive methodology as to clear the ground of some prevailing mistakes and misconceptions. His paper was first presented to a round-table at the Prato Centre for Theatre Semiotics in February 1983.

Varney, Denise, e Rachel Fensham. "More-and-Less-Than: Liveness, Video Recording, and the Future of Performance". New Theatre Quarterly 16, n. 1 (febbraio 2000): 88–96. http://dx.doi.org/10.1017/s0266464x00013488.

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With the spread of digital and other modes of electronic recordings into the auditoria and lecture theatres where performance is studied, the debate about the video documentation of performance – already well rehearsed and in the pages of NTQ – is about to intensify. Rachel Fensham and Denise Varney have based the article which follows on their own work in videoing live theatre pieces for research into feminist performance. This article deliberates on their experience with the medium and examines the anxieties that surface at the point of implosion between live and mediatized performance. The first part locates these anxieties in the question of presence and absence in performance – especially that of the performer, whose body and self are both at stake in the recorded image. In the second part, the authors offer a description of viewing practices, which they present as a model of ‘videocy’. Rachel Fensham is Senior Lecturer in the Centre for Drama and Theatre Studies, Monash University, and Denise Varney is Lecturer in the School of Studies in Creative Arts, Victorian College of the Arts, University of Melbourne.

Antonova, Liubov G., e Ksenia A. Ryzhenkova. "Communicative tools for organizing a dialogue in network book sand bloginge". Socialʹnye i gumanitarnye znania 7, n. 3 (23 ottobre 2021): 318. http://dx.doi.org/10.18255/2412-6519-2021-3-318-325.

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The article deals withthe communicative tools for organizing dialoguerelations in network book blogging, which is presented as an active intellectual news platform, a video hosting site that is interesting forits capabilities of educational content and technologies for promoting new products of cinema, theater and book products in the space of virtual discourse. The authors consider the problems of communicative competence of the blogger and the basics of effective communication in the context of blog discourse, present the basic requirements for organizing the news content of the recording, the way of self-presentation and the choice of tools for virtual interaction of the blogger-booktuber with subscribers. When describing the real tools of the virtual dialogue of the blogger-booktuber, the authors refer to the blog discourse of Nikolai Zharinov on the youtubchannele Artifix. On specific examples of video recording, the ways of self-presentation of the blogger, the strategy of his interaction with the target audience, his choice of style and language elements of influence are analyzed. Particular attention is paid to the methods of selection and theme of intellectual content for the programs of this author, the creative features of the individual author's commenting on information. The authors prove that online blogging is a unique communicative environment that allows the blogger to be a creative, self-sufficient competent person, successfully combine the public and intimate in a network dialogue. Each booktuber blogger strives for "effective communication", which is understood as such a dialogue interaction that allows the speaker to achieve the goal and solve a set of communicative tasks: socio-cultural education, successful self-presentation, competent promotion of an intellectual cognitive product-novelties of the book market.

Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky". Aspects of Historical Musicology 19, n. 19 (7 febbraio 2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.

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Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff. Perhaps, this is why M. Karminskyi chose the Library as the main curator of his archive. What is better than studying the artist’s personal archive to give an idea of his personality, creative methods and worldview? Even a cursory glance at the collection of documents classified on the shelves of the archive, illustrating particular biographical episodes, helps the researcher to form a holistic impression of the artist’s creative personality, as well as to orient, if necessary, for further more depth studying of his heritage. The purpose of this article is a brief review of the general content of the archival fund of M. V. Karminskyi, with the materials of which the author had the honor to conduct research and bibliographic work, as of a documentary sources base for future research of the composer’s work and the history of the musical culture of Kharkiv in 1950–2000 years. Statement of the main positions of the publication. The composer began to transfer his archive to the library during his lifetime: he arranged folders with manuscripts, gave explanations about the time of writing and purpose of individual works. It was this archive that was the first to get into the library as a full-fledged array of documents about the life of a creative person. The condition for its transfer was the possibility of unimpeded viewing of the archive and its copying for the purpose of training and concert performance of the composer’s works. The full description of M. Karminskyi’s archive was completed in 1996, but the fund was supplemented several times thanks to new materials that came to the archival collection after its formation. It contains a variety of documents, including musical manuscripts, newspaper clippings, photographic documents, sound recordings on various media, posters, booklets, programs, manuscripts by other authors related to the activities of the composer. Thus, for the theater – opera, drama – the composer has been actively working since a young age. He wrote music for performances of Kharkiv theaters – Puppet Theater, Young Audience Theater, Ukrainian Drama Theater named after Taras Shevchenko, Jewish Theater, even for student amateur theaters. Four operas by M. Karminskyi, among them – “Ten days that shook the world”, “Irkutsk story” – were successfully staged in many theaters in Ukraine, Russia, the Czech Republic and Germany. Particular attention was drawn to the opera “Ten Days That Shook the World” based on John Reed’s book about the events in Petrograd in 1917, which was published as the separate piano reduction and received a large number of reviews in periodicals. The typewritten copies of reviews by famous Ukrainian musicologists K. Heivandova and I. Zolotovytska have been preserved in the archive. The collection of the archive also includes the published piano score of the opera “Irkutsk story”, the known “Waltz” from which served as a call sign of the Kharkiv Regional Radio for many years. One of the most interesting manuscripts of the archive is the music for the unfinished ballet “Rembrandt” on the libretto by V. Dubrovskyi. The musical “Robin Hood”, which was performed not only in Kharkiv, but also in Moscow, brought the composer national fame. The sound recording of the Moscow play was distributed thanks to the release of gramophone records created with the participation of stars of Soviet stage – the singers Joseph Kobzon, Lev Leshchenko, Valentina Tolkunova and the famous actor Eugene Leonov. The popularity of this musical was phenomenal; excerpts from it were performed even in children’s music schools, as evidenced by the archival documents. During the composer’s life and after his death, his vocal and choral works, works for various instruments were mostly published. The array of these musical editions and manuscripts of M. Karminskyi is arranged in the archive by musical genres. These are piano pieces and other instrumental works, among them is one of the most popular opuses of the composer – “Jewish Prayer” for solo violin (the first performer – Honored Artist of Ukraine Hryhoriy Kuperman). Number a large of publications about the life and career of M. Karminskyi published in books and periodicals are collected, among them are K. Heivandova’s book (1981) “Mark Karminskyi”, the brief collection of memoirs about the composer (compiler – H. Hansburg, 2000) and the congregation of booklets of various festivals and competitions, for example, the booklets of the International Music Festival “Kharkiv Assemblies”, in which the composer has participated since the day of their founding. The booklet of the M. Karminskyi Choral Music Festival testifies to a unique phenomenon in the musical life of the city: never before or since has such a large-scale event dedicated to the work of a single person taken place attracting so many choirs from all Ukraine. A separate array of documents is the photo archive, which includes 136 portraits, photos from various events; 41 of them were donated by a famous Kharkiv photographer Yu. L. Shcherbinin. The audio-video archive of M. V. Karminskyi consists of records of his works, released by the company “Melody”: staging of performances “Robin Hood”, “There are musketeers!” (based on the play by M. Svetlov “20 years later”), various songs, video and tape cassettes with recordings of concerts. Other interesting documents have been preserved, for example, a typewritten script for the Kharkiv TV program about M. Karminskyi with his own participation or the library form, which can be used to trace his preferences as a reader. M. Karminskyi also compiled reviews of publications on the performance of his works and short bibliographic descriptions of their print editions. Conclusions. M. Karminskyi’s personal archive founded by him own in Kharkiv ‘K. S. Stanislavskyi’ Music and Theater Library has been functioning as an independent library fund since 1996 and today it is an unique comprehensive ordered collection, which is freely available and stores documents of various types: music publications and manuscripts, newspaper and magazine fragments, announces, photos, sound and video documents. M. Karminskyi’s archival fund is used as a documentary source for scientific researches (the Candidate’s dissertations of art critics Yu. Ivanova (2001) and E. Kushchova (2004) were defended using the materials of the archive) and as a basic congregation of works by the composer for their performance. The use of digital technologies is part of the necessary modern perspective of the fund’s development, the value of which as a primary source of historical and cultural information only grows over time.

McAuley, Gay. "The Video Documentation of Theatrical Performance". New Theatre Quarterly 10, n. 38 (maggio 1994): 183–94. http://dx.doi.org/10.1017/s0266464x00000348.

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Video technology has been widely available for the last twenty years, and offers possibilities for the documentation of theatrical performance that no previous generation has possessed. What are we doing with these possibilities? Why is it that we are only now taking some timid first steps towards the establishment of national or regional video archives? This article reports some findings from ten years of experimentation with recording formats and analysis, and urges the need for action by theatre practitioners, funding authorities, and university researchers to ensure that the theatrical output of another generation is not lost. The author, Gay McAuley, teaches in French and Performance Studies and is Director of the Interdisciplinary Centre for Performance Studies at the University of Sydney. Her research in recent years has focused on the semiotics of performance and, in particular, the ways actors use text in the construction of performance. She is currently writing a book called Space in Performance.

Velini, Riskia Siiti, e Deli Nirmala. "Environmental Metaphors in Randai Traditional Performance in Minangkabau: Ethnographic Study". E3S Web of Conferences 317 (2021): 01050. http://dx.doi.org/10.1051/e3sconf/202131701050.

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Minangkabau Randai is one of the traditional arts from West Sumatera, Indonesia that combines four different aspects: silat, theater, music and dancing. The purpose of Randai is to spread moral values of Minangkabau tradition by using a story called kaba. This research discusses the communication patterns used in Randai. Descriptive qualiative method is used in the research and the data collection is done by doing library research. Because of the COVID-19 pandemic, Randai could not be performed and thus the data are taken from video recording. The title of the Randai performance discussed is Rambun Pamenan and ethnography of communication approach is used to analyze the data by using Hymes’ theory of unit of analysis. The result of the research shows that the communicative event takes place on an open field and there are five communicative events done by the speakers: the opening of Randai, the opening for kaba, dendang, the play for kaba and closing. The communicative acts in the play for kaba are in the form of dialogue, which contain verses and environmental metaphors. The position of women in Minangkabau culture is represented through the environmental metaphors in the dialogue.

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Tesi sul tema "Video recording in the theater":

Ekström, William. "Video Recording in Mobile Military Systems". Thesis, Uppsala University, Department of Information Technology, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-98262.

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In this paper different approaches for digital video recording in vehicles are examined, with weight on video quality. Different video compression algorithms were gone through and the conclusion was that inter-frame compression, like MPEG video delivers better video quality than intra-frame algorithms, for example Wavelet. The main drawback is that it is difficult to extract single frames, which leads to difficulties when for example backwards-playability is needed. To demonstrate how digital video recording can be done a demonstrator was built. Therefore, when the decision to use MPEG compression was made, a market research was done and a video grabber expansion card for PCs was bought. The report describes the hardware and software developments that had to be made to run the video recorder.

The result of the thesis was this report and a functioning recorder. The delivered video quality was fair and it was also remote controlled.

Hales, John C. "VIDEO CASSETTE RECORDING. OF STANDARD PCM DATA". International Foundation for Telemetering, 1986. http://hdl.handle.net/10150/615283.

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International Telemetering Conference Proceedings / October 13-16, 1986 / Riviera Hotel, Las Vegas, Nevada
Standard video cassette recorders (VCR’s) are relatively inexpensive, small, and capable of recording large quantities of data for hours. The problem with using VCR’s to record pulse code modulated (PCM) digital data is that glitches are recorded in the serial data stream coincident with the video sync pulses. This problem can be solved by formating the PCM data stream and synchronizing the video sync pulses to the PCM data.

Mayo, Philip Ian. "Preparation and properties of materials for video recording". Thesis, Bangor University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.276199.

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Swann, Robert. "MPEG-II video coding for noisy channels". Thesis, University of Cambridge, 1997. https://www.repository.cam.ac.uk/handle/1810/272889.

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Horvath, Stephen M. "An examination of how undergraduate students can be prepared for careers in non-linear video editing". Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only. Instructions for remote access, 2000. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.S.)--Kutztown University of Pennsylvania, 2000.
Source: Masters Abstracts International, Volume: 45-06, page: 2807. Typescript. Abstract precedes thesis as preliminary leaf 2. Includes bibliographical references (leaves 44-47).

Monaco, Joseph W. "Generalized motion models for video applications". Diss., Georgia Institute of Technology, 1997. http://hdl.handle.net/1853/14926.

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

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

Pearre, Nathaniel S. "SANDCam at Rehoboth quantifying shoreline change using video /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 81 p, 2008. http://proquest.umi.com/pqdweb?did=1459914901&sid=3&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Eklow, Joshua Ryan. "My first word was "video"". Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/493.

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With the quick abandonment of VCR technology and the adoption of digital and online replacements, people give up freedom and personal power in the name of perceived convenience. VCRs and VHS tapes served two needs: the need to time-shift programming and the need to archive The internet and DVR technology fulfill the first need, that of time-shifting, but completely ignore the need of people to archive, which is a need many people don't even realize they have until they are no longer able to archive programs in both an audio/visual and physical manner. The disappearance of physical recording also makes it impossible for others to use ones VHS tapes for anthropological investigation. DVR records do not end up in thrift stores, or flea markets, and are not easily bequeathed after a person passes. By investigating one man's VHS collection, encouraging others to use tapes, and using tapes as a raw material with which to create new work, I hope to inspire others to realize what they have lost, or perhaps, given up.

Izmirliev, Antoan. "Methods for improving quality of block based compressed still and video images". Thesis, University of Strathclyde, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366928.

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Libri sul tema "Video recording in the theater":

Lindemann, Rainer. Bühne im Raster: Die audiovisuelle Theaterdokumentation. Berlin: Zentrum für Theaterdokumentation und -information, 1993.

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Ka, Tamara. Memória do efêmero: O DVD-registro de teatro. São Paulo, SP, Brasil: Annablume, 2008.

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Marleau, Denis. Les aveugles: Fantasmagorie technologique. Montréal: Musée d'art contemporain de Montréal, 2002.

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Campbell, Drew. Digital technical theater simplified: High tech lighting, audio, video, and more on a low budget. New York: Allworth Press, 2011.

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Balzola, Andrea. La nuova scena elettronica: Il video e la ricerca teatrale in Italia. Torino: Rosenberg & Sellier, 1994.

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Prono, Franco. Il teatro in televisione. Roma: D. Audino, 2011.

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Błaszczak, Monika. Ekrany i lustra w polskim dramacie współczesnym. Poznań: Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2009.

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Cooke, Grayson. Live A/V in Australia. Broadway: UTS ePRESS, 2013.

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Mellor, David. Sound Person's Guide to Video. Burlington: Elsevier, 2000.

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Millerson, Gerald. Lighting for video. 3^a ed. Oxford: Focal Press, 1998.

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Capitoli di libri sul tema "Video recording in the theater":

Compesi, Ronald J. "Video Recording". In Video Field Production and Editing, 60–68. Eighth edition. | New York : Routledge, Taylor & Francis Group, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429505935-4.

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Camras, Marvin. "Professional Video Recording". In Magnetic Recording Handbook, 440–503. Dordrecht: Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-010-9468-9_11.

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Owens, Jim. "Recording the Video". In Video Production Handbook, 251–58. Sixth edition. | New York, NY : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315530574-15.

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Foust, James C., Edward J. Fink e Lynne S. Gross. "Video Recording and Playback". In Video Production, 225–38. Twelfth edition. | New York and London : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315168180-10.

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Owen, Lynette. "Audio-recording and video-recording rights". In Selling Rights, 309–19. Eighth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351037501-20.

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Camras, Marvin. "Home Video Tape Recording". In Magnetic Recording Handbook, 504–37. Dordrecht: Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-010-9468-9_12.

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Bakir, Ahmed. "Playing and Recording Video". In Beginning iOS Media App Development, 199–224. Berkeley, CA: Apress, 2014. http://dx.doi.org/10.1007/978-1-4302-5084-5_8.

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Clemente, Ignasi. "Recording Audio and Video". In The Blackwell Guide to Research Methods in Bilingualism and Multilingualism, 177–91. Oxford, UK: Blackwell Publishing Ltd., 2009. http://dx.doi.org/10.1002/9781444301120.ch10.

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Richter, H. J. "High Density Video Recording: Media and Recording Considerations". In High Density Digital Recording, 197–216. Dordrecht: Springer Netherlands, 1993. http://dx.doi.org/10.1007/978-94-011-1636-7_7.

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Williams, J. B. "Saving TV Programmes: Video Recording". In The Electronics Revolution, 234–42. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-49088-5_25.

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Atti di convegni sul tema "Video recording in the theater":

Kirrane, Rebecca, Claire Condron e Jim Murray. "TR17 Ready to rollout: introducing a new video recording and analysis tool to a large simulation centre". In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.82.

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Shalit, Hanoch. "Video Recording Paper - Innovation In Medical Video Recording". In 1985 Medical Imaging Conferences, a cura di Samuel J. Dwyer III e Robert J. Schneider. SPIE, 1985. http://dx.doi.org/10.1117/12.947332.

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Buschek, Daniel, Michael Spitzer e Florian Alt. "Video-Recording Your Life". In CHI '15: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2702613.2732743.

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Sadashige, Koichi. "Video Recording Formats in Transition". In SMPTE Television Conference. IEEE, 1988. http://dx.doi.org/10.5594/m00521.

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Marder, Mattias, Amir Geva e Yaoping Ruan. "Lightweight searchable screen video recording". In 2012 Visual Communications and Image Processing (VCIP). IEEE, 2012. http://dx.doi.org/10.1109/vcip.2012.6410783.

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Wilkinson, J. H. "Recording compressed digital video pictures". In International Conference on Storage and Recording Systems. IEE, 1994. http://dx.doi.org/10.1049/cp:19941130.

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Garboan, A., M. Mitrea e F. Preteux. "Camcorder recording robust video fingerprinting". In 2012 IEEE 16th International Symposium on Consumer Electronics - (ISCE 2012). IEEE, 2012. http://dx.doi.org/10.1109/isce.2012.6241697.

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"Dawn". In ACM SIGGRAPH 2003 video review on Electronic theater program. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/1006032.1006034.

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Gravas, Mark, e Sandra Walters. "Show & tell". In ACM SIGGRAPH 2003 video review on Electronic theater program. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/1006032.1006048.

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Cabezas, Thelvin, e Ringling School of Art and Design. "Poor Bogo". In ACM SIGGRAPH 2003 video review on Electronic theater program. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/1006032.1006049.

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Rapporti di organizzazioni sul tema "Video recording in the theater":

Becker, Ralf. Recording lectures with annotations (Video case study). Bristol, UK: The Economics Network, luglio 2020. http://dx.doi.org/10.53593/n3318a.

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Barry Pittendrigh, Barry Pittendrigh. Ebola video voice-over recording in 10 African local languages. Experiment, dicembre 2014. http://dx.doi.org/10.18258/4155.

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Garris, Michael D., Mary T. Laamanen, Craig S. Russell e Lawrence D. Nadel. Assessment of closed circuit television digital video recording and export technologies. Gaithersburg, MD: National Institute of Standards and Technology, marzo 2017. http://dx.doi.org/10.6028/nist.ir.8172.

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Donaghey, S., S. Berman e N. Seja. More Than A War: Remembering 1914-1918. Unitec ePress, maggio 2016. http://dx.doi.org/10.34074/emed.035.

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Abstract (sommario):

More Than a War: Remembering 1914-1918 presents a creative juxtaposition of digital platforms—a combination of audio, video, archival images, soundscapes, and social media, among others—to tell the stories from 1914–1918 a century later. Led by Sara Donaghey, Sue Berman and Nina Seja, the transmedia project brings together staff and students from Unitec Institute of Technology’s Department of Communication Studies and Auckland Libraries to provide a unique oral contribution to recording the history of Aotearoa New Zealand in The First World War.

Bates, C. Richards, Melanie Chocholek, Clive Fox, John Howe e Neil Jones. Scottish Inshore Fisheries Integrated Data System (SIFIDS): Work package (3) final report development of a novel, automated mechanism for the collection of scallop stock data. A cura di Mark James e Hannah Ladd-Jones. Marine Alliance for Science and Technology for Scotland (MASTS), 2019. http://dx.doi.org/10.15664/10023.23449.

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[Extract from Executive Summary] This project, aimed at the development of a novel, automated mechanism for the collection of scallop stock data was a sub-part of the Scottish Inshore Fisheries Integrated Data Systems (SIFIDS) project. The project reviewed the state-of-the-art remote sensing (geophysical and camera-based) technologies available from industry and compared these to inexpensive, off-the -shelf equipment. Sea trials were conducted on scallop dredge sites and also hand-dived scallop sites. Data was analysed manually, and tests conducted with automated processing methods. It was concluded that geophysical acoustic technologies cannot presently detect individual scallop but the remote sensing technologies can be used for broad scale habitat mapping of scallop harvest areas. Further, the techniques allow for monitoring these areas in terms of scallop dredging impact. Camera (video and still) imagery is effective for scallop count and provide data that compares favourably with diver-based ground truth information for recording scallop density. Deployment of cameras is possible through inexpensive drop-down camera frames which it is recommended be deployed on a wide area basis for further trials. In addition, implementation of a ‘citizen science’ approach to wide area recording is suggested to increase the stock assessment across the widest possible variety of seafloor types around Scotland. Armed with such data a full, statistical analysis could be completed and data used with automated processing routines for future long-term monitoring of stock.

Anastomotic urethroplasty: using 3D video recording as a teaching tool. BJUI Knowledge, aprile 2019. http://dx.doi.org/10.18591/bjuik.v027.

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CONCEPT AND FUNCTIONS OF E-JUSTICE IN THE DIGITAL ECONOMY. DOI CODE, 2021. http://dx.doi.org/10.18411/0131-5226-2021-70001.

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Abstract. The article deals with the concept of "electronic justice" and features of the use of electronic justice for the consideration of economic disputes. In the digital economy e-justice is one of the legal constructions that provide a comfortable legal environment for economic activity. This is a complex of legal relations and technological solutions that provides individuals and legal entities with the opportunity to use digital technologies at all stages of the judicial process, to obtain information about the activities of courts through electronic access. The e-justice mechanism includes video and audio recording of court sessions, electronic document management with the use of an electronic signature, an electronic archive for storing electronic documents, the use of cloud technologies, as well as the use of electronic documents as evidence. Improving the legal regulation of e-justice in the digital economy, along with reforming procedural legislation, should include the development of a Federal law on electronic documents.