The digital revolution changed film production in many ways. Until the end of the 20th century, most film professionals and critics preferred celluloid film. However, no previous empirical study compared complete narrative films recorded with analog and digital cinematography. Three short narrative films were produced with an analog and a digital camera attached to a 3D rig in order to control all optical parameters. In postproduction, a third version of a digital film was created to mimic the analog film aesthetics. In a cinema experiment with 356 participants, we tested whether the three film versions are perceived differently. The two capturing technologies produced similar emotional and immersive experiences during digital projection. The study revealed significant differences in the memory of visual details, with higher recall scores for the digitally captured versions. By contrast, preference ratings of very short scenes and the comparison of projection types revealed different results. The mechanical projection of celluloid film produced higher levels of emotional reactions. The results might be of interest to film professionals and audience in general. This study shows that the gap between analog and digital aesthetics has been closed with today's advanced digital technology.
While color plays a fundamental role in film design and production, existing solutions for film analysis in the digital humanities address perceptual and spatial color information only tangentially. We introduce VIAN, a visual film annotation system centered on the semantic aspects of film color analysis. The tool enables expert‐assessed labeling, curation, visualization and Classification of color features based on their perceived context and aesthetic quality. It is the first of its kind that incorporates foreground‐background information made possible by modern deep learning segmentation methods. The proposed tool seamlessly integrates a multimedia data management system, so that films can undergo a full color‐oriented analysis pipeline.
This study investigates a pattern observed in recent lifestyle advertisements. In the domain of luxury goods a certain type of advertisement has emerged that relies almost exclusively on the evocation of pure sensation. Only in part do the depicted scenes, characters or objects trigger these sensations. Rather, aesthetic features of style-such as depth of field, diffusion, colour or light-enhance the spectator's sensorial response. In the context of the avant-garde of the 1920s, similar strategies were employed. While these avant-garde films combined a modernist hope for utopia with a democratisation of aesthetics and taste for the masses, contemporary lifestyle advertisements tend to be suffused with nostalgia. However, this nostalgia is ahistoric, offering only the most pleasurable aspects of an imaginary experience. 1. See internet sources for these commercials at the end of the text.
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