Música em Movimento: a linguagem Motion Graphics nos videoclipes brasileiros (1990-2010)

SOUZA, Luciano. Música em movimento: a linguagem Motion Graphics nos videoclipes brasileiros (1990 -2010). 100f. Dissertação (Mestrado em Comunicação)-Universidade Municipal de São Caetano do Sul, São Caetano do Sul, 2012.

A linguagem motion graphics nos videoclipes brasileiros

Com o desenvolvimento das tecnologias digitais de edição, animação e pós-produção, a linguagem motion graphics se configurou como ferramenta criativa nas relações entre som e imagem. Este artigo tem como objetivo identificar e analisar aspectos inovadores da utilização da linguagem motion graphics nos videoclipes de artistas brasileiros, no período de 1990 a 2010. Por meio de categorias de avaliação relacionadas 1) aos softwares de composição visual, 2) à evolução da linguagem do clipe no período e 3) às relações entre música, vídeo e gráficos utilizados, quatro estágios de aplicação criativa dos recursos dessa linguagem nos videoclipes brasileiros foram estabelecidos.

Online Video as a Tool for Planning Education and Engagement: A Content Analysis of U.S. City Planning Departments’ YouTube Channels

Thesis (Master's)--University of Washington, 2016-06

Recursos del diseño con tipografía en el cine

La presente tesis doctoral se centra en el estudio y clasificación de los recursos empleados en el diseño con tipografía en el medio cinematográfico. Se consideran estas unidades desde el punto de vista estético/formal, sin olvidar su aporte narrativo, por su condición de elemento significativo de lectura autónoma y/o a la vez integrado en la estructura diegética de la obra cinematográfica. Esa integración, basada en la coherencia de estilo gráfico global, se estima que vertebra la concreción de la identidad visual de la obra para ayudar a convertir el producto en marca comercial. Por otro lado, se ilustra la influencia recíproca que se establece entre los diseños de secuencias de título de crédito principales, sobreimpresiones con tipografía, teasers y pósters con lo desarrollado en géneros mixtos tan heterogéneos como el spot publicitario, el vídeo musical y, sobre todo, el vídeo arte y el cine experimental. La estética de todos estos formatos va estrechamente ligada a la incorporación de nuevas técnicas de producción para estos diseños. De ahí la necesidad de clasificar esas técnicas y su aplicación a la composición con tipografía. El proyecto se articula en distintos capítulos que abordan todos y cada uno de los aspectos relacionados con la tipografía en cine: carteles cinematográficos, secuencias de créditos principales y el uso expresivo de sobreimpresiones con tipografía en el contexto argumental. Se ha estimado conveniente solo citar tangencialmente el diseño tipográfico más estrechamente ligado con la ejecución física de la dirección artística del film, ya sea en letreros de decorados o piezas de atrezzo recreadas. El cuerpo de estudio incluye principalmente, no por casualidad, una mayor proporción de filmes norteamericanos. El sector cinematográfico en los EE.UU. además de su mayor volumen de producción, ha sido el primero en ver en el diseño una herramienta eficaz e imprescindible para vender sus productos. Su concepto de industria va parejo a la necesidad de generar la idea de marca en sus productos. Con todo esto, se ha ofrecido un recorrido por las distintas formas de presentar estas informaciones, mediante una clasificación original que ayuda a un mejor acercamiento a las obras y, asimismo, plantear un amplio muestrario que ayude a diseñadores y realizadores a abordar sus trabajos aprovechando al máximo las posibilidades expresivas de estos recursos. Aunque ya existen numerosas publicaciones sobre carteles cinematográficos, ordenados por épocas, géneros e incluso autores, estas siempre se centran en el contenido fotográfico o ilustración, relegando la componente tipográfica a un limbo incomprensible. La pormenorizada estructuración de recursos compositivos con tipografía desarrollada es totalmente inédita. En cuanto a la atención al específico empleo de tipografía en la propia película, tipos en movimiento, en los últimos diez años se ha comprobado un creciente interés por las secuencias de títulos de crédito gracias a diferentes publicaciones de desigual calibre. Entre las principales fuentes cabe destacar: BASS, J., KIRKHAM, P., Saul Bass, a life in film & design, Laurence King Publishing, Londres 2011 BELLANTONI, J., WOOLMAN, M., Tipos en movimiento, Index Books, Barcelona 2000 BETANCOURT, M., The history of motion graphics, from avant-garde to industry in the United States, Wildside Press, Savannah 2013 CODRINGTON, A., Kyle Cooper, Laurence King Publishing, Londres 2003 HERVAS IVARS, C., El diseño gráfico en televisión: técnica, lenguaje y arte, Cátedra, Madrid 2002 HORAK, J., Saul Bass, Anatomy of film design, University Press of Kentucky, Kentucky 2014 SOLANA, G., BONEU, A., Uncredited, Diseño gráfico y títulos de crédito, Index Book S.L., Barcelona 2007

Design gráfico para televisão

Dissertação para obtenção do grau de Mestre em Design de Comunicação apresentada na Universidade de Lisboa - Faculdade de Arquitetura.

Eye for an eye

Artist David Lyons and computer scientist David Flatla work collaboratively to create art that intentionally targets audiences of varying visual abilities mediated through smart device interfaces. Conceived as an investigation into theories and practices of visual perception, they explore the idea that artwork can be intentionally created to be experienced differently dependent on one’s visual abilities. They have created motion graphics and supporting recolouring and colour vision deficiency (CVD) simulation software. Some of the motion graphics communicate details specifically to those with colour blindness/CVD by containing moving imagery only seen by those with CVD. Others will contain moving images that those with typical colour vision can experience but appear to be unchanging to people with CVD. All the artwork is revealed for both audiences through the use of specially programmed smart devices, fitted with augmented reality recolouring and CVD simulation software. The visual elements come from various sources, including the Ishihara Colour Blind Test, movie marques, and game shows. The software created reflects the perceptual capabilities of most individuals with reduced colour vision. The development of the simulation software and the motion graphic series are examined and discussed from both computer science and artistic positions.

Circle squared: an interactive environment

Circle Squared by David Lyons and Raz Ullah, brings together large-scale projected motion graphics and a dynamic soundscape to create a playful, digitally interactive artwork. The sounds are drawn from heightened and abstracted recordings of the printmaking process, and these – along with the changing CMYK colour palette – are triggered by audience interactions with sensors and projectors within the installation.

Online Robust 3D Mapping Using Structure from Motion Cues

This paper presents a complete solution for creating accurate 3D textured models from monocular video sequences. The methods are developed within the framework of sequential structure from motion, where a 3D model of the environment is maintained and updated as new visual information becomes available. The camera position is recovered by directly associating the 3D scene model with local image observations. Compared to standard structure from motion techniques, this approach decreases the error accumulation while increasing the robustness to scene occlusions and feature association failures. The obtained 3D information is used to generate high quality, composite visual maps of the scene (mosaics). The visual maps are used to create texture-mapped, realistic views of the scene

Quantification of the local heartwall motion by magnetic resonance myocardial tagging.

Sophisticated magnetic resonance tagging techniques provide powerful tools for the non-invasive assessment of the local heartwall motion towards a deeper fundamental understanding of local heart function. For the extraction of motion data from the time series of magnetic resonance tagged images and for the visualization of the local heartwall motion a new image analysis procedure has been developed. New parameters have been derived which allows quantification of the motion patterns and are highly sensitive to any changes in these patterns. The new procedure has been applied for heart motion analysis in healthy volunteers and in patient collectives with different heart diseases. The achieved results are summarized and discussed.

Motion Segmentation And Meanshift Assisted Contour Refinement For Airborne Video

This paper presents methods for moving object detection in airborne video surveillance. The motion segmentation in the above scenario is usually difficult because of small size of the object, motion of camera, and inconsistency in detected object shape etc. Here we present a motion segmentation system for moving camera video, based on background subtraction. An adaptive background building is used to take advantage of creation of background based on most recent frame. Our proposed system suggests CPU efficient alternative for conventional batch processing based background subtraction systems. We further refine the segmented motion by meanshift based mode association.

Online Robust 3D Mapping Using Structure from Motion Cues

This paper presents a complete solution for creating accurate 3D textured models from monocular video sequences. The methods are developed within the framework of sequential structure from motion, where a 3D model of the environment is maintained and updated as new visual information becomes available. The camera position is recovered by directly associating the 3D scene model with local image observations. Compared to standard structure from motion techniques, this approach decreases the error accumulation while increasing the robustness to scene occlusions and feature association failures. The obtained 3D information is used to generate high quality, composite visual maps of the scene (mosaics). The visual maps are used to create texture-mapped, realistic views of the scene

Estimation of visual motion parameters used for bio-inspired navigation

Visual motion cues play an important role in animal and humans locomotion without the need to extract actual ego-motion information. This paper demonstrates a method for estimating the visual motion parameters, namely the Time-To-Contact (TTC), Focus of Expansion (FOE), and image angular velocities, from a sparse optical flow estimation registered from a downward looking camera. The presented method is capable of estimating the visual motion parameters in a complicated 6 degrees of freedom motion and in real time with suitable accuracy for mobile robots visual navigation.

Pain Intensity And Cervical Range Of Motion In Women With Myofascial Pain Treated With Acupuncture And Electroacupuncture: A Double-blinded, Randomized Clinical Trial.

Acupuncture stimulates points on the body, influencing the perception of myofascial pain or altering physiologic functions. The aim was to evaluate the effect of electroacupuncture (EAC) and acupuncture (AC) for myofascial pain of the upper trapezius and cervical range of motion, using SHAM acupuncture as control. Sixty women presenting at least one trigger point at the upper trapezius and local or referred pain for more than six months were randomized into EAC, AC, and SHAM groups. Eight sessions were scheduled and a follow-up was conducted after 28 days. The Visual Analog Scale assessed the intensity of local and general pain. A fleximeter assessed cervical movements. Data were analyzed using paired t or Wilcoxon's tests, ANOVA or Friedman or Kruskal-Wallis tests and Pearson's correlation (α=0.05). There was reduction in general pain in the EAC and AC groups after eight sessions (P<0.001). A significant decrease in pain intensity occurred for the right trapezius in all groups and for the left trapezius in the EAC and AC groups. Intergroup comparisons showed improvement in general pain in the EAC and AC groups and in local pain intensity in the EAC group (P<0.05), which showed an increase in left rotation (P=0.049). The AC group showed increases in inclination (P=0.005) sustained until follow-up and rotation to the right (P=0.032). EAC and AC were effective in reducing the pain intensity compared with SHAM. EAC was better than AC for local pain relief. These treatments can assist in increasing cervical range of motion, albeit subtly.

Análise do desempenho muscular do quadríceps e dos isquiotibiais em função da série temporal e da amplitude de movimento de atletas amadoras de futsal feminino = : Analysis of muscle performance of the quadriceps and hamstrings as a function of the times series and range of motion of amateurfemale futsal athletes

Universidade Estadual de Campinas . Faculdade de Educação Física