Digital Film Research Articles

Exploring Factors Contributing to High Turnover Rate Among Digital Film Technicians: A Grounded Theory Approach

This study aimed to clarify the core elements affecting the turnover intention of grassroots employees in the digital film industry and to construct a model of the factors affecting the turnover rate in this industry. Adopting the grounded theory approach, which encompasses coding techniques such as open, axial, and selective coding, this research involved the participation of 21 grassroots practitioners to explore the causal and influencing factors of the turnover intention of grassroots practitioners in the digital film industry. The results show that determined by the unstable nature of the job and fierce market competition, interpersonal interaction is a core element that influences whether practitioners continue with or leave their jobs. The over-reliance on interpersonal skills leads to negative psychological outcomes and difficulties in career advancement for practitioners. The interpersonal interaction-focused influences model reflects the correlation between the willingness of individuals to leave and the market environment and organizational culture.

Digital is Not the Alternative: Dilemma and Preserving Films in India

Abstract Films deteriorate over time and archival methods are still being developed to prevent this. Digital technology enables the conversion of films, but there are various issues with digital approaches that present Indian archivists with the dilemma of choosing the appropriate one to film preservation. It is perceived that digital technology is inferior to film and, thus, archivists in India are struggling to preserve their film heritage for future generations. Film archivists, curators and restorers in India were interviewed as part of this study, with a thematic analysis conducted to understand the perceived insufficiency of digital preservation. Film archivists dislike digital technology but recognise its benefits, however, digital film preservation faces issues of originality, obsolescence, cost, resolution and legal aspects. Archivists suggested that digital archiving is not an alternative to film archiving but rather a complement and the study finds that the problems in digital approaches can be minimised through measures such as diligence, technological advancement, multiple copies and raising awareness which can prolong the film artefact in a digital archive. Both methods must work together to preserve the unpreservable.

Digital Learning Innovation : Language Collaboration In Tanjungmojo Village

This research aims to develop digital learning innovation through language collaboration in Tanjungmojo Village, where low digital literacy and limited access to quality educational resources are the main problems. Limited foreign language skills among village communities are also an obstacle in keeping up with developments in global technology and communication. To overcome this challenge, the research uses an action research approach by involving the active participation of local communities in the development of digital-based foreign language learning programs. This research was conducted in three main stages: (1) analysis of local needs and potential, (2) development and implementation of a language-based digital learning program, and (3) evaluation of the effectiveness of the program. Data was collected through interviews, participant observation, and questionnaires filled out by program participants and the general public. The research results show that the digital learning program developed succeeded in significantly increasing the participants' digital literacy and foreign language skills. In addition, collaboration between local communities and teaching staff creates an inclusive and sustainable learning environment.The main trends identified in this research include increasing community participation, especially teenagers and young adults, in learning activities, as well as increasing interest in continuing to learn and develop new skills through digital platforms. This research also highlights the importance of community support and technology accessibility for the success of learning programs in rural areas. The MIT-18 KKN program in Tanjungmojo Village involved 97 students with learning methods through bilingual digital films and group discussions, which encouraged high participation and involvement. Despite challenges in content retention and technical limitations, this initiative shows great potential in improving education in rural areas and bridging the existing educational gap.

Application and Expansion of Virtual Production Technology in the Field of Digital Film and Television

Application and Expansion of Virtual Production Technology in the Field of Digital Film and Television

Characterization of a CMOS camera based film digitization platform for gated x-ray imaging diagnostics at the National Ignition Facility.

Hardened gated x-ray detectors use photographic film as the data recording medium due to its low sensitivity to the high-yield neutron environments at the National Ignition Facility (NIF). The photographic film is digitized with a Photometric Data Systems (PDS) microdensitometer, which measures the film's optical density. The PDS scanner is able to measure a dynamic range of 0-5 OD; however, raster scanning the film is time consuming and maintenance of the instrument is challenging due to legacy technology. Since film usage at NIF is expected to continue in the foreseeable future, a digitization platform that is faster and more maintainable would benefit the NIF's current and future operations. This work presents the characterization of the digital transitions (DT) atom, a CMOS camera-based digitization platform that records film data in a single image capture very quickly and has widely available user support. The preliminary results suggest that the DT atom is able to reconstruct exposures accurately enough to be a competitive alternative to the PDS Scanner.

ASTM International Subcommittee E07.02 on Reference Radiological Images: A brief history and update of recent work

Radiographic interpretation is a combination of art and science. The radiograph interpreter must be well versed in x-ray physics, conditions of the exposure, characteristics of the source and image detector, the design of the part, its specifications, and potential flaws. But there is also an art to interpretation that is gained over years of looking at many radiographs taken in many different conditions. As an aid to interpretation, reference radiographs have been developed and well accepted as means of identifying different types of indications and grading those indications for accept/reject decisions. Industrial radiography began in 1922 under the direction of HH Lester at the US Army Watertown Arsenal. The first radiography standards and reference radiographs appeared in the 1930s. ASTM International Committee E07 on Nondestructive Testing was formed out of Committee E04 on Metallography X-ray Methods subcommittee in 1938 when ASTM was the American Society for Testing Materials. An ASTM Subcommittee on Reference Radiographs was formed in 1950 and immediately adopted some of these first reference films as consensus standards. Since those first reference radiograph standards ASTM has developed both film and digital radiograph standards for 11 types of castings and 3 types of welds, several radiographic parameter demonstration films, a standard film for measuring film digitization performance, and films for evaluating visual acuity of radiograph interpreters. This paper discusses the history of reference films and the recent development of digital reference images, film digitizer performance film, and the visual acuity standard. The just-approved ASTM E3168 Standard Practice for Determining Low-Contrast Visual Acuity of Radiographic Interpreters is the first standard containing actual radiographic images of varying sharpness, contrast, and noise that can be used to evaluate interpreters and/or interpretation environments. This paper documents the initial statistical study performed on the visual acuity standard films.

Employing artificial intelligence techniques in digital film production - a case study of the film "Rule of Your Swords.

Employing artificial intelligence techniques in digital film production - a case study of the film "Rule of Your Swords.

Narrating entertainment streaming in Europe

The Introduction addresses critical issues surrounding digital film and television circulation in Europe and the obstacles encountered by European streaming platforms. It explores the central arguments presented in the Special Issue’s contributions and examines methodological concerns, including ideological influences on research agendas and the difficulties associated with quantitative research. Additionally, the Introduction underscores the pivotal role of Subscription Video-on-Demand (SVoD) services in the industry and reflects on the subaltern status of European SVoD platforms compared to American streaming behemoths within a deregulated market that demonstrates minimal concern for sustainability issues.

Binding the past with digital: Film curation at Batu Api Library

Background: Digital curation is a growing concept that involves the selection, organization, and presentation of digital information for specific purposes. In this study, digital curation manages Batu Api Library’s film collection using digital technology. This trend is critical to keeping cultural information relevant and accessible to the public. Purpose: This study intends to examine the curation of digital films at the Batu Api Library and how users react to and value the library’s digital film curation results. Methods: This study is based on qualitative research. Batu Api Library conducted this study for three months. Interviews and questionnaires are research methods. Quantitative and qualitative data are collected in two phases. The types of data require different treatment methods. Thematic analysis provides qualitative data, while descriptive statistics uses quantitative data. The methodology provides a comprehensive understanding of the impact of technology on the curation of films and audience participation at Batu Api Library. Results: The study found overwhelmingly positive results for integrating digital technology into film curation at Batu Api Library. The experience engaged and educated many visitors and helped them understand historical and cultural differences. The youngest users were particularly engaged. Conclusion: The study found that digitizing film curation at Batu Api Library enhanced the visitor experience and historical insight. Responses, especially from younger participants, indicate that digital advances are beneficial. Implications: Digital film curation can enhance the museum experience and historical and cultural knowledge. Digital technology preserves and communicates cultural heritage in practical and theoretical ways.

Analyzing the Accuracy of Digital Sizing on Long-Leg Alignment X-rays by Using a 1-Inch Ball Bearing: A Cheap and Effective Method.

Background and objective Sizing on digital films is important for implants and planning deformity correction. CT is the most accurate digital measurement method. We use a 1-inch ball bearing (cost: $1) to size our long-leg standing films (LLSFs) when planning deformity correction. In this study, we aimed to assess the accuracy of digital measurements calibrated by this method. Methods We conducted An IRB-approved study involving 25 patients having both an LLSF with a 1-inch ball bearing taped to the inner mid-thigh and a CT scanogram. The longest distance in the axial cut of the bilateral ankle, knee, and femoral heads of the CT images were compared to the same anatomic locations on LLSFs calibrated with the ball bearingusing the online digital planning software DetroitBonesetter (DBS) andmeasurements from our Picture Archiving Communication Software (PACS). Five observers performed each measurement. Results The average measurement differences between the gold standardCT scanand LLSFs calibrated with DBS were as follows: 0.110 ± 0.432 mm (femoral head); 2.173 ± 0.0619 mm (knee); and 3.671 ± 0.30 mm (ankle). In PACS, they were as follows: 5.470 ± 0.381 mm (femoral head); 6.248 ± 0.712 mm (knee); and 1.806 ± 0.548 mm (ankle). The intraclass correlation coefficient for 600 measurements by five observers was 0.972. Conclusions The $1 ball-bearing sizing on DBS using LLSFs provides accuracy to <1 mm for the femoral head, 2 mm at the knee, and 3.7 mm at the ankle. It was significantly better than the PACS system for both the femoral head and knee (<0.001), while PACS was better at the ankle (<0.001).

“We Need a Lighthouse Philosopher”: Filipa César and Louis Henderson's Sunstone (2018) and the Portuguese Genealogy of Lens-Based Media

Abstract This article discusses Filipa César's and Louis Henderson's digital film Sunstone (2018), situating it within a history of lenses and lighthouses in Portuguese conquest. It argues that Portugal has been overlooked as playing a key role in shaping the use and conceptual function of lenses in maritime conquest. In particular, the beaming of light from lenses has been overshadowed by the function of light collection in histories written about lens-based media.

Makerspace as a space in a children's library сreativity and the latest information technologies

The peculiarities of the organization and the main functions of the makerspace in the children's library as a space for creativity and the use of the latest information technologies are analyzed. Makerspace in the children's library is aimed at promoting the development of creativity, convergent thinking, and the search for innovative ideas. It is emphasized that the makerspace combines traditional creative activities in the children's library with digital technologies, including: 3D printers, laser milling machines, thermal presses, application software, equipment for creating robots, drones, digital cameras, Google Glass, etc. For children, creative activities in the makerspace involve the formation of integrated literacy in the fields of reading, science, art, mathematics and technology or specific competencies: creating digital films, web cartoons, remakes, video editing, combining remixes, 3D modeling and printing, training for screenwriters, master classes in programming, control of drones, robots, mobile photography and film school, digital storytelling studio, etc. It was concluded that the makerspace is a complex inclusive environment in which a specific culture and common values are formed, and creativity, exchange of information and technologies act as mutual support; a space that promotes technological development, provides services and programs for the formation of STEM competencies, digital literacy, to help children develop creative abilities and problem-solving skills in the age of the digital environment. This enables the makerspace to implement a number of functions of the library's informational and creative activities: formation of digital literacy, development of convergent thinking, intellectual and creative potential, knowledge exchange and collaboration, formation of environmental awareness. Thanks to the implementation of the concept of makercraft, the children's library is transformed into various spatial forms: digital literacy; knowledge exchange and collaboration; creativity; interactivity; communication.

Research on the Creative Performance of Digital Film and Television Works Based on Virtual Reality Technology

Abstract This study investigates the application of virtual reality technology in the creative expression of digital film and television productions, especially the role of EEG signal denoising and feature recognition methods in enhancing the audience experience. The study uses wavelet threshold denoising and parallel RLS adaptive filtering algorithms to process EEG signals to improve the accuracy and reliability of the data. Then, the EEG signals were feature extracted using a bihemispheric domain adversarial neural network (BiDANN) to more accurately recognize the user’s emotional responses. The experimental results show that in the virtual reality environment, the users’ concentration and emotional reactions are significantly improved, with the average concentration reaching 74.21 and the average value of the electrodermal test data being 6.19. In addition, the eye-movement interaction experiments show that different types of digital movie and television works can cause additional attention allocation of users in the VR environment, leading other creative performance effects. The study’s results prove that virtual reality technology can significantly enhance the innovative performance of digital movie and television works and improve the audience’s viewing experience.

A semiotic landscape analysis of the film posters: Parasite, Mother and Whiplash

The aim of this study is to discuss the film posters of Parasite, Mother and Whiplash through semiotic landscape. The analyses have been based on Halliday’s Functional Grammar (1985) and, Kress and van Leeuwen’s Visual grammar (2020). The film Parasite has been analysed within the actional and classificational processes, whereas the film Mother has been examined within the reactional and analytical processes and the film Whiplash has been investigated through the speech and mental processes, and the symbolic processes. The film posters have been also discussed in terms of the descriptive and connotative meanings, as well as the significance of colours in conveying emotions and cultural meanings. Besides, the widespread use of disguised symbols has been identified in film posters. This study sheds light on the influence of visual discourse analysis on film posters, emphasizing the study of semiotics and visual communication in a media-dominated society.

Ghost Gardens: The Intersection Between Electronic Archives and Artistic Research

Drawing on the works of Jaques Derrida (1930–2004) – principally Archive Fever (1995) and Cinders (1987) – and Mark Fisher’s (1968–2017) Ghosts of My Life (2014) as interlocutors, I engage with concepts surrounding the electronic archive in artistic creation and research. I discuss my recent composition Ghost Gardens, a sixty-minute digital soundscape derived from the histories of Lascar sailors employed by the British East India Company during the 19th century, and current issues pertaining to climate change, habitat and species loss. I reflect upon the nature of the archive in a period of rapid environmental change, vanishing acoustic terrain and its preservation, through the lens of Ghost Gardens as a creative project which explores the intersection between sound, film, ecology and deconstruction in the digital domain. The creation of the soundscape has both utilised and generated digital film, audio and photographic archives, while the research process involved archival research pertaining to the East India Company. The sonic seascape forms part of a multi-layered, technologically enabled, interdisciplinary body of work; an ocean of sound that probes questions pertaining to the nature of recording and inscription of electronic documentation and retrieval.

Barns berättelser i rörelse och förflyttning: Actionkameror i förskolans undervisning

Digital tools in preschool teaching are often presented as something threatening in the public debate, often in relation to health risks, such as sedentary behaviour. This article finds new ways to discuss this through an investigation of what conditions the use of mobile documentation technology in relation to both storytelling and movement in preschool education. We discuss how the physical and the digital can relate to each other in preschool teaching. With a particular focus on bodily aspects and storytelling, we explore new ways of approaching children’s perspectives with a point of departure in mobile digital documentation. Based on data material consisting of children's documentation of their immediate environment with the help of action cameras (that is, small digital film cameras that are applied to the body with the help of a helmet or harness). The bodily, pedagogical, and ethical consequences of combining the physical and the digital in preschool education are discussed. The data is analyzed with inspiration from a social anthropological perspective with a focus on the epistemological couplet emic/etic. The analyzes are characterized by what could be called an "epic" approach to the child filming and to each other during their movements in the surroundings of the preschool. The study offers an example of how movement can be staged in preschool education. To this end, the combination of physical and digital elements is deemed to be meritorious.

Exploring the New Aesthetic Significance of Chinese Film Art under the Influence of Digital Technology

Film, rooted in technology, possesses unique aesthetic characteristics that are intertwined with technological advancements. Since the beginning of the new century, the integration of digital technology has facilitated a seamless transition of film art from production to distribution, ushering in a new era of digital film aesthetics. This paper focuses on investigating the relationship between digital technology and film art, clarifying the developmental origins of both, and using the degree of digital technologys integration into film art as a starting point. By examining classic digital film texts, the paper explores the reshaping of various aspects of film production through the application of digital technology. Based on film aesthetic theories, this paper aims to deconstruct traditional film aesthetics through the lens of digital film, making meaningful attempts to establish the aesthetic framework for Chinese digital film art.

Kung Fu Panda: The Value of Chinese Culture in Digital Films

The digital film Kung Fu Panda, produced by DreamWorks Animation of Paramount Pictures, has immediately become a hotspot worldwide since it was released in 2008. The essential reason for its bloom lies in that the film integrates Chinese culture with the spirit of the age; more specifically, by using digital film technology professionally, Chinese culture is embodied in the elements of the film, such as characters, dialogues, actions, music, scenes, etc. In a word, digital film technology brings out eye-catching brilliance when fused into Chinese culture; at the same time, Chinese culture presents immeasurable artistic and market value in digital films.

The unity productions foundation film and the C3 framework

PurposeThe purpose of this paper is to engage readers with Unity Productions Foundation (UPF) films, which provide a powerful, inspirational digital tool for teachers. The organization's mission is to create documentaries, films and educational materials that contribute to bringing to light compelling stories of Muslim engagement through history and culture. UPF films and educational projects aim to promote peace and understanding to increase cultural pluralism and counter bigotry in our world.Design/methodology/approachTeachers will be able to utilize the resources provided in this paper to harness the power of media in their classrooms. Outlining the process by which teachers can follow the C3 inquiry using the film Prince Among Slaves will prepare teachers to see the alignment of the C3 Framework with their teaching. The “best practice” classroom strategies in structuring deliberations are ones that encourage students to fully participate and emphasize their voice.FindingsThis paper will unpack the practice methods that address the film Prince Among Slaves to be of benefit when sharing narratives through digital film and engage students in critical thinking through the C3 Framework. UPF films are the product of scholarly research and innovative production teams as the films provide the opportunity to visualize and explore multiple perspectives to understand historical content by providing a context for inquiry teaching and learning that is inclusive through deliberative discussions in the classroom.Originality/value The author certifies that this manuscript submission is original work and that all authors were involved in the intellectual elaboration of the manuscript and all parties have been acknowledged.

Attractive Visuality Generation Within the 360˚-VR Video Format as a Technological Trend in Modern Film Production

The aim of the article is to study the features of the process of attractive visuality generation within the 360˚-VR video format. Results. A comprehensive consideration of the issue with the use of general scientific and special methods (problem-logical, theoretical-informational, art studies, comparative analysis, the method of analogy, abstraction, induction, and deduction) demonstrates that one of the key trends in modern film production is the creation of a “multinarrative space” (A. G. Iñárritu) VR-immersion of the viewer as a recipient and co-creator of this space, accompanied by the transformation of the film into a visually attractive activity and transformation principles of film aesthetics in the 20th century. Scientific novelty. It is proved that the 360˚-VR video format is a unique audiovisual form that requires a special grammatical, technical and technological base (professional or amateur 360˚ camera, effective tools for creating and editing 360˚video content for the different platforms, Kolor Autopano Video Pro, SIFT algorithm, etc.) thus, brings the use of the immersion principle to a qualitatively new level. Conclusions. Due to this, attractive visuality is becoming possible in the quality of a new aesthetic and perceptual-virtual experience that is being formed under the influence of VR-attractions and modern special effects in the digital cinematograph. It leads to the synthesis between cinematograph and theatre when the transition is occurring from montage sequence to virtual-theatrical play where in consequence of 360˚-VR the action has been developing constantly, and the viewer is in the very centre of the events. Thereby, there are grounds to confirm that, including technological development and measureless creative possibilities in the process of projecting different VR-attractions, it is possible for a viewer’s infinite immersion in the space of a digital film; that, from one side, transforms film language on the modern stage, creating the perspectives of the further branch development, and from another side, it conditions a number of psychological problems and risks connected with the viewers’ reaction on a different level of density of the attractive field of modified film language.