Post-production Phase Research Articles

Construction of contextualized knowledge and popular culture in the teaching of sciences through the production of digital videos in the context of scientific and technological folkcommunication

Esse trabalho aborda a construção do conhecimento contextualizado através da participação popular no ensino de ciências através da produção de vídeos digitais no contexto da folkcomunicação. A partir do reconhecimento das limitações da escola e da concepção tradicional de educação apresentamos os resultados de uma pesquisa de intervenção participante que analisou como a produção de vídeos digitais por discentes de uma escola da Rede Municipal do município de Itapissuma (PE) contribui para a construção do conhecimento contextualizado no ensino de Ciências. A metodologia utilizada foi de natureza qualitativa, empregando entrevistas semiestruturadas e observação participante para a coleta de dados junto a dezoito discentes e um docente. Anteriormente ao início dos trabalhos dos alunos foram realizadas oficinas de criação de vídeo digital, seguidas de entrevistas, na fase pós-produção. Os resultados evidenciam que a assunção do papel de produtores culturais contribui significativamente para o processo de construção do conhecimento, e para a posta em prática, forma contextualizada, dos conteúdos curriculares abordados. A publicação dos vídeos em redes sociais, seguida de debates e diálogos a respeito de conceitos científicos que impactam o cotidiano da comunidade onde vivem (poluição, doenças sexualmente transmissíveis) estabeleceu por outro lado um nexo entre vida, cultura popular e o ensino em Ciências, conforme os elementos de uma Folkcomunicação Científica e Tecnológica. Dessa forma, reconhecendo a importância e a necessidade de mediações pedagógicas que promovam a interação, a colaboração, o trabalho em equipe e o desenvolvimento da autonomia, nossos resultados validam a produção de vídeo digital enquanto tecnologia educacional capaz de estabelecer novas formas de compreensão do mundo.

Game development software engineering process life cycle: a systematic review

Software game is a kind of application that is used not only for entertainment, but also for serious purposes that can be applicable to different domains such as education, business, and health care. Although the game development process differs from the traditional software development process because it involves interdisciplinary activities. Software engineering techniques are still important for game development because they can help the developer to achieve maintainability, flexibility, lower effort and cost, and better design. The purpose of this study is to assesses the state of the art research on the game development software engineering process and highlight areas that need further consideration by researchers. In the study, we used a systematic literature review methodology based on well-known digital libraries. The largest number of studies have been reported in the production phase of the game development software engineering process life cycle, followed by the pre-production phase. By contrast, the post-production phase has received much less research activity than the pre-production and production phases. The results of this study suggest that the game development software engineering process has many aspects that need further attention from researchers; that especially includes the postproduction phase.

Towards Fusion of Textual and Visual Modalities for Describing Audiovisual Documents

Audiovisual documents provide a wide range of content description through more descriptors from different media types. Indeed, the extraction of these descriptions has received an increasing attention. But, the lack of semantic description always persists. In fact, this lack affects the retrieval process. To address this problem, this paper describes an automatic and semantic description of cinematic audiovisual documents. This description is based not only on the audiovisual flux in this post-production phase but also in the documentation in the pre-production phase by using textual and visual modalities. In this context, to extract content description, we find it is essential to extract texts superposed in the image. This process is mainly based on the neural network classifier. Moreover, an effective OCR (Tesseract) is adapted for texts recognition. Experiments results confirmed the interesting performance through two databases, namely, “ICDAR 2011” and our own created database from the Internet Movie Database Imdb.

COMPARISON AMONG HYBRIDS AND PRE-SELECTED CULTIVARS FOR RESISTANCE TO ETHYLENE IN ORNAMENTAL PEPPERS

There are many factors affecting the post-production phase that determine the quality and extend the shelf life in ornamental plants and flowers. In general, ethylene present during shipping and marketing is one of the most important factors affecting quality of many potted plants. The aim of this work was to compare two hybrids with two cultivars one resistant and another susceptible to ethylene. The plants of four genotypes were grown in greenhouse until 30% of the fruits were ripe. Then the vases were transferred to a room at 25°C with 8-10 µmol s-1 m-2 with white fluorescent light. Afterwards, the vases were transferred to a 60-L container and treated with 10 µl L-1 ethylene for 48 h. Afterwards, the plants were analyzed for number of leaves and fruits abscised at 0 and 144 h after ethylene treatment. The hybrid 76A—BP showed the lowest leaf abscission compared to the resistant cultivar. The hybrid DRA—BP showed no difference and was similar to the resistant cultivar. For the fruit abscission, there was no significant difference among the hybrids and cultivars. These hybrids will be used in the ornamental breeding program of Capsicum at the Federal University of ParaA­ba and Federal University of ViA§osa.

Determining Optimal Order Amount for End-of-Life Parts Acquisition with Possibility of Contract Extension

Manufacturers often encounter difficulties in supplying an adequate number of spare parts for a product in its postproduction phase. As a result, manufacturers will sometimes make one final order of a model of spare part that is used to satisfy any demand for the spare part going forward. The problem is compounded when a customer may request an extension to the maintenance or supply contract for which the part is supplied. We present two possible approaches for dealing with the problem: one involves the use of a continuous-time dynamic program that allows for the possibility of salvage, and the other makes use of a two-stage stochastic algorithm that does not consider salvage.

A Continuous-Time Examination of End-of-Life Parts Acquisition With Limited Customer Information

Manufacturers often encounter difficulties in supplying an adequate number of spare parts for a product that is in its post-production phase. Current solution methods for optimal spare part order amounts use assumptions that require knowledge of the number of products in operation at any time t. In the business situation presented here, the manufacturer only has knowledge of the part and product failure rates and a probability distribution on the number of products still in operation; unless the manufacturer and customer have a close working relationship, it is likely that this information is all that the manufacturer will have available in a typical business environment. We model time-discounted revenues and costs as a function of the spare parts order amount. We consider two different versions of the problem—incremental replenishment and no replenishment—that operate by determining the rate of change of the total profit with respect to the order amount q.

How content contributors assess and establish credibility on the web

The proliferation of user-generated content (UGC) is one of the distinguishing characteristics of Web 2.0. Internet users contribute content online through platforms such as blogs, wikis, video sharing sites, and sites that allow user feedback. Yet little is known of the credibility practices of these content contributors. Through phone interviews conducted with 29 online content contributors, this study investigates how content contributors assess credibility when gathering information for their online content creation and mediation activities, as well as the strategies they use to establish the credibility of the content they create. These contributors reported that they engaged in content creation activities such as posting or commenting on blogs or online forums, rating or voting on online content, and uploading photos, music, or video. We found that credibility judgments made when gathering information for online content creation and mediation activities could be grouped into three levels: intuitive, heuristic, and strategy-based. We identified three distinctive ways of establishing credibility that are applied during different phases of content contribution: ensuring credibility during the content creation phase; signaling credibility during the content presentation phase; and reinforcing credibility during the post-production phase. We also discovered that content contributors tend to carry over the strategies they used for assessing credibility during information gathering to their strategies for establishing the credibility of their own content. Theoretical implications for credibility research and practical implications for developing information literacy programs are discussed.

AN INSIGHT INTO THE POST HARVEST HANDLING AND STORAGE OF PAPAYA (CARICA PAPAYA L.)

Papaya (Carica papaya L.) is one among the widely consumed fruits of the world and is grown throughout the tropics and subtropics. EU markets are highly conscious of fruit quality and all markets either big or small have a preference to hermaphrodite pear shaped fruits at 50-70% yellow on arrival at the market. Fruits absolutely free from latex stain, external debris, harvest wounds, handling punctures, scratches, bruises, scars, insect residues, spray damage, over or under yellowing and 'softness' are exclusively in demand. Imports into EU markets are showing a steady increase since the year 2001 and Netherlands, UK, Germany, Portugal, France, Spain and Italy are the top seven importers. Brazil is the major supplier of papaya to EU markets while India, Pakistan, Ghana, Thailand and Ecuador are the other suppliers of importance. The cultivation in India is spread over fifteen states and Karnataka, Uttar Pradesh, West Bengal, Assam and Gujarat are the major papaya growing states. The challenges faced by the industry are more towards post production phase than the production phase. India exports only 0.08% of its papaya production and the export destinations are mainly towards Bahrain, Kuwait, Qatar, Saudi Arabia, UAE and the Netherlands. New Delhi and Mumbai are the two principal papaya markets in India while Jaipur, Bangalore, Chennai, Kolkata and Hyderabad are the other markets. Sizeable arrivals have also been reported in Gauhati, Ahmedabad, Lucknow, Patna, Rajpur and Jammu Markets.

Semi-automatic knowledge extraction, representation and context-sensitive intelligent retrieval of video content using collateral context modelling with scalable ontological networks

Automatic indexing and retrieval of digital data poses major challenges. The main problem arises from the ever increasing mass of digital media and the lack of efficient methods for indexing and retrieval of such data based on the semantic content rather than keywords. To enable intelligent web interactions, or even web filtering, we need to be capable of interpreting the information base in an intelligent manner. For a number of years research has been ongoing in the field of ontological engineering with the aim of using ontologies to add such (meta) knowledge to information. In this paper, we describe the architecture of a system (Dynamic REtrieval Analysis and semantic metadata Management (DREAM)) designed to automatically and intelligently index huge repositories of special effects video clips, based on their semantic content, using a network of scalable ontologies to enable intelligent retrieval. The DREAM Demonstrator has been evaluated as deployed in the film post-production phase to support the process of storage, indexing and retrieval of large data sets of special effects video clips as an exemplar application domain. This paper provides its performance and usability results and highlights the scope for future enhancements of the DREAM architecture which has proven successful in its first and possibly most challenging proving ground, namely film production, where it is already in routine use within our test bed Partners’ creative processes.

Post-production sound: a new production model for interactive media

One of the most profound differences between film sound design and game sound design is that where film contains linear visual footage against which any number of sounds can be synchronized and blended, a game triggers individual sounds based on events occurring in the game at non-specified times. Broadly speaking, films are about emotional immersion within a narrative, where video games concern physical immersion in a universe of action and reaction. Games therefore require a radically different production philosophy from that of film, yet one that replicates the involvement of a dedicated audio post-production phase at the end of the project. This period would allow consideration of all the elements of music, dialogue and sound effects as fully integrated parts of the final game. Post-production sound design and mixing are therefore where video games can finally begin to articulate themselves with a similar sound design language to that of film.

Novel infrastructures for supporting mixed-reality experiences

This article focuses on the challenge of managing the large amount of heterogeneous spatiotemporal mixed-reality data (such as audio/video files, GPS logs, and text messages) generated in a distributed asynchronous fashion that must be indexed, annotated, synchronized, and replayed in the postproduction phase. As mixed-reality technologies grow and mature, this process becomes increasingly difficult. We face a vast amount of mixed-reality data as well as a vast number and diversity of services and tools. Producing meaningful content requires a systematic and integrated approach to managing audio and video streams rather than sophisticated tools or large development teams. We need an infrastructure to support the provenance and context of (often) transient resources (for example, data or tools and services being changed and updated) that could support richer user interaction with the resources. More specifically, we identify key grid and peer-to-peer capabilities that can bring us closer to such a large-scale generic record-and-reuse infrastructure for mixed-reality experiences.

Adaptation of moveable pop-up technique in 3D animation

To convey a story or message, contemporary 3D animation utilizes a conventional continuity approach in which events are arranged in a smooth, sequential, and uninterrupted manner. The results of good continuity are coherence in visual perception and a seamless flow of action and events from one shot or sequence to another in all motion media. In making a film, continuity coupled with good editing principles and appropriate use of transitions in the post-production phase make for an organized shooting plan. In this article we discuss the potential of adapting a movable pop-up technique as a continuity element for the entire flow in 3D animation. This is done by integrating the technique within the animated story, transforming scenes, and narrating the story from one shot to another continuously by substituting basic editing transitions in a film. These findings demonstrate that movable pop-up animation affects animation timing and is incapable of achieving classical continuity (defined as making transitions as transparent as possible to the audience). Nevertheless, this technique is sufficient to create coherence in visual perception and establish a continuous flow of events within a distinct animation style.

"That spirit, that thing inside". Using qualitative research techniques to produce a recruitment film for Hispanic/Latino and American Indian students.

This article reports on the use of qualitative research methodology in producing a 23-minute recruitment film to attract Hispanic/Latino and American Indian students into a baccalaureate nursing program. The research question addressed in this pilot project was, "What is the meaning of the educational experience to Hispanic/Latino and American Indian nurses in the Yakima Valley of south central Washington State?" The conceptual development of the project, recruitment of interview participants, generation of interview protocol, data collection, and analysis are described and correlated to accepted qualitative research elements. Themes and patterns identified in participant interviews, the "findings" of the project, were used during the postproduction phase as guides for the story that unfolds in the film, which addresses the experience of being a nurse of color.

547 Effects of Media Surfactants on Growth and Postharvest Dessication of Impatiens, Petunia, and Spathiphyllum

Impatiens `Dazzler Violet', Petunia × hybrida `Carpet Blue', and Spathiphyllum `Ty's Pride' plugs were planted in 10-cm pots containing a commercial peat-based soilless growing medium composed of Canadian 60 peat: 20 vermiculite: 20 perlite (by vol) not treated with surfactant. Growing medium was treated, or not treated, 1) at planting, 2) during production, and/or 3) preshipment with experimental surfactants. The production phase consisted of growing plants on raised benches in a greenhouse until they reached marketable size. Phytotoxicity, plant water use and growth were determined. At the beginning of the postproduction phase, growing medium in all pots was brought to container capacity. Plants were then dried to wilting three times. Water loss and water retained on rewatering and times to wilt and recovery were recorded. Surfactant treatments caused no foliar phytotoxicity and did not delay flowering for petunia or spathiphyllum. However, surfactant treatments delayed flowering for impatiens by ≈4 days. Surfactant treatments increased top growth of petunia but not of the other crops. Postproduction, water retention at rewatering, and times to wilt were increased for petunia and spathiphyllum when they were in surfactant-treated medium. For impatiens, treatments had no effects on water retention or wilting, probably due to the small root systems and limited attendant medium dewatering for this crop. Generally, all three experimental surfactants performed similarly and weekly and preshipment surfactant applications were of no additional benefit compared to a single initial application at planting.

10-Hydroxy-cis- and 10-Hydroxy-trans-paspalic Acid Amide: New Alkaloids from Claviceps paspali

10-Hydroxypaspalic acid amide [1] and 10-hydroxy-cis-paspalic acid amide [2] were found as metabolites of the postproduction phase of submerged fermentation of Claviceps paspali. Structure revision is based on comparison with 1 H- and 13 C-nmr data of this-paspalic acid and agroclavine I

New aspects of submerged fermentation of Claviceps paspali

Submerged fermentation of Claviceps paspali strain MG-6 was studied with regard to the fate of individual alkaloids in the course of fermentation. Based on liquid-chromatographic data the process can be divided into three phases. The production phase (fermentation days 3–12) is characterized by biosynthesis of the basic genuine alkaloid, lysergic acid alpha-hydroxyethylamide (LAH I). In view of its low stability it becomes epimerized on two asymmetric carbon atoms in the fermentation medium, yielding three other epimers (LAH II–IV). The degradation phase (days 13–18) involves cleavage of LAH I–IV resulting in ergine and erginine. In the post-production phase (days 15–30) the alkaloids succumb to biooxidative reactions that yield mostly 8-hydroxy-derivatives of ergine and erginine. Isolation of paspalic acid 10-hydroxyamide signifies the existence of an alternative biosynthetic pathway for production of simple lysergic acid derivatives.

Experience with a Prototype High Definition Multi Effects Unit in Electronic Video Production

The paper describes a prototype High Definition Digital Multi Effects (HDDME) unit conforming to the SMPTE 240M standard for 1125/60 high definition production systems. — The unit is intended to be integrated with other electronic production equipment to replace optical effects in film production and to provide transparent and high quality linear picture manipulation for wide screen applications. — The use of the HDDME in both the post production phase and the real-time phase of the demonstrations shown at NAB in April 1989 and at Montreux 1989 is also described. These demonstrations showed the ability of the unit to provide rapid generation and modification of effects as a post production tool and also to be used as a tool to allow actors to interact with pre-recorded material.

New Alkaloids of Claviceps paspali

Two new alkaloids, 8-hydroxyergine and 8-hydroxyerginine, are produced during the post-production phase of submerged cultivation of the strain Claviceps paspali. Their structures were determined on the basis of UV, ms, and 2D-nmr data. A mechanism of formation of these compounds is proposed. The C-8 configuration of 8-hydroxy-ergotamine was solved by comparison with nmr spectra

Shooting Film Style with a Single Video Camera on 1-in Tape

The French state-owned Société Française de Production et de Créations Audiovisuelles (SFP) has been experimenting in recent years with electronic cinematography, shooting with a single video camera on 1-in tape. Some salient points of their latest experiences are described. They include, at the beginning, adjustments in labor union relations. Equipment planning for video recording is outlined. The shooting procedure was equivalent to a normal production on film, except for the use of an electronic camera. The advantages of this method are enumerated, and some of the director's, the lighting director's, and the camera crew's experiences and opinions are cited. The post-production phase — transfer to working dubs, scene selection, rough cut, final cut, sound effects placing and mix-down, final on-line transfer of the 1-in tape in conformity with the workprint — is illustrated, and working days for each step are given. A brief description of the planning of editing equipment and its use concludes the paper.