On the production and consumption of moving images: An exploration of the experience of emerging digital technologies, 2007-2016

Complete List of Outputs

List of Contents 
Understanding Digital Cinematography  is comprised of

Summary
12 online resources (with multiple elements within each totalling over 100)
4 Industry Engagements including testing
56 Artefacts
87 Exhibitions
7 peer reviewed articles
1 industry article
1 Co-authored BBC Research and Development White Paper
2 book chapters
15 conference papers
10 invited talks to research communities (Including Industry research communities
Instructions for accessing: The URLs in the list below will lead to online videos or the text of articles, papers or book chapters
ONLINE RESOURCES
  • Flaxton T, (2007-2014) High Definition, No Mercy
            ​Named to tell the reader that the specific details of a good grasp of digital cinematography was unavoidable, there is an 80,000 word blog updated regularly
            ​and maintained to keep abreast of this ever changing subject area, ‘High Definition and High Resolution Motion Imaging’
            ​http://highdefinition-  nomercy.blogspot.co.uk/             ​This currently comprises interviews with over 25 practitioners and theorists significant in the inception of digital cinematography who discuss the effect of
            ​emerging digital moving image capabilities and what their effect might be on the audience. There are interviews with people who are involved in the design
            ​of the new capture and display media, artists and professionals working in the new medium. http://www.visualfields.co.uk/indexHDresource.htm             ​There are a set of online resources under one banner comprising various traditional print based reference works to be found 
            ​here: http://www.visualfields.co.uk/KT2.htm             ​At the 2010 summative exhibition at the P3 Gallery in London, I approached various academics to discuss issues around the methodology of practice as
            ​research and these were available online total 4 hours: http://www.visualfields.co.uk/KTWest.htm 
            ​However, unfortunately, it seems that now University of Westminster have taken these offline regardless of a prior agreement with University of Bristol.
  • Flaxton T, (2011) Notes on Digital Workflows  This is a summation of relevant issues in Digital Cinematography produced for Creative England and Watershed Media Centre, on the subject of Digital Workflows for professionals, academics and students of cinematography http://www.visualfields.co.uk/DIGITALWORKFLOWS.pdf or click on the file symbol to the right - also states the rules for Data Cinematography and suggests production pathways plus clarifies difficult terms.
digitalworkflows.pdf
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            This symposium was recorded and placed online and reveals a developing language between academics and professionals – which took place in a 
            public forum. 
The sessions are:
  • The Look Session One: Introduction and Capture
            ​http://www.dshed.net/media/the-look-session1-apr2011.mp4
            ​This session introduced the symposium and examined the film industry’s transition for analogue to digital.             ​Unlike celluloid, digital film doesn't exist in a tangible format - this session looked at where and how data is stored.             ​This session examined the impact of digital technology on colouring film, and the importance of colour grading in maintaining continuity.
  • The Look Session Four: Exhibition and Display
            ​http://www.visualfields.co.uk/KTThelook4V.htm
            ​This session examined the benefits of digital projection and distribution and charted how many cinemas worldwide were converting to digital
  • The Look: Panel Discussion
            ​http://www.visualfields.co.uk/KTThelook5V.htm
            ​A panel of academics and industry professionals discussed the pros and cons of digital cinema and answered audience questions

            ​I invited Roberto Schaefer ASC AIC to come to Bristol from Santa Monica Hollywood to speak about his experience of making films in Hollywood and now
            ​dealing with electronic media this developed into the 2015/2016 Bristol Festival of Cinematography.
            ​​http://motionimageresearch.weebly.com/the-films-of-roberto-schaefer-asc-aic-at-encounters-2013.html
            ​There are a set of online sessions that constitute workshops within the 2015 Festival which I organised and presented throughout.  Click here to access and               ​click for full screen: http://motionimageresearch.weebly.com/2015-bristol-international-festival-of-cinematography-video-documentation.html
 
The sessions are:
  1. Opening Panel: State of the Art (Nick Knowland BSC, Roberto Schaefer AIS, ASC, Nigel Walters President of IMAGO and Vice President of the BSC, Geoff Boyle FKBS ACS
  2. Roberto Schaefer ASC AIC Lighting Masterclass
  3. Nick Knowland BSC, Lighting Masterclass
  4. Dave Alex Riddet, Aardman Tabletop Lighting Masterclass
  5. Women In Cinematography
  6. Billy Williams BSC OBE in conversation with Roberto Schaefer. Billy Williams OBE, BSC and Oscar Winner for Gandhi became a patron of the festival as did Nigel Walters BSC – President of the British Society of Cinematography. Later during the 2016 Festival Chris Menges – a double Oscar winner for The Mission and The Killing Fields also became patron amongst several other notable Cinematographers.
  7. Geoff Boyle FKBS, Lighting Faces Masterclass
  8. Celluloid Panel: The perennial Conversation, film or data cinematography
  9. Geoff Boyle FKBS, Post/Data Masterclass
  10. Early Careers Panel
  11. Cinematographers and their influences, Ula Pontikos BSC, Nick Knowland BSC, Roberto Schaefer ASC AIC, Geoff Boyle FKBS
  12. Otto Bathurst and Roberto Schaefer ASC, AIC in conversation
              ​Another set of online resources exists that constitute workshops within the 2016 Festival, which I also organised and presented throughout. Click here to
            ​​access and click for full screen: http://motionimageresearch.weebly.com/2016-bristol-international-festival-of-cinematography-video-documentation.html
 
The Sessions are:
  1. Roberto Schaefer ASC AIC, Lighting masterclass
  2. Why Shoot Film?
  3. Geoff Boyle FKBS, ACES Masterclass
  4. Chris Menges in discussion with Ula Pontikos BSC & Roberto Schaefer ASC
  5. Cinematography and Art
  6. Higher Dynamic Range Experimentation. This was the development of my 2014 HDR Advanced Innovation Laboratory. I and a group of PhD students and professionals performed an HDR experiment on stage with the audience looking on (amongst which were representatives of the ASC, the BSC, AMPAS, BAFTA and various professionals inc Aardman Animation.
  7. The Films of Nick Knowland
  8. Roberto Schaefer ASC AIC and Rina Yang DP in discussion
  9. Nick Knowland BSC Lighting Masterclass
  10. Billy Williams OBE, BSC Lighting Masterclass
  11. A Chris Menges Retrospective: Part One
  12. A Chris Menges Retrospective: Part Two
  13. Miles Ahead: A Case Study, Roberto Schaefer ASC AIC
  14. Director and Cinematographer: Phillipa Lowthorpe and Matt Grey BSC
  15. The State of Cinematography 2016
  16. The Black Poetic Voice in British Cinema, Part One
  17. The Black Poetic Voice in British Cinema, Part Two
INDUSTRY ENGAGEMENTS
A file of a report for Faculty of Arts, Creative Industries and Education on the efficacy of the Camera and Lens Tests has been removed because it is confidential.
ARTEFACTS
  • Flaxton T. (2008) In Other People's Skins
            (IOPS) life-sized projection onto a table top covered by a floor length table cloth (72 inches by 40.5 inches) 16:9 aspect ratio, HD Video with 12 white plates
            to catch the images of flood, surrounded by 12 chairs for the audience to sit upon – within this you will see simulations of different resolutions. In Other
            People's  Skins is at the head of the video file above - press play for access. Also there's a video file called The Making of Other People’s Skins - click here                 for access. You can also go for further information (click URL): http://www.visualfields.co.uk/IOPSVideo.htm 
  • Flaxton T. (2008) Dance Floor
            life-sized projection down onto a recess in the floor 2 foot deeper than the surrounding floor (108 inches by 60.5 inches - 16:9 aspect ratio both standard and               ​HD versions) the floor of the exhibition space scattered with shoes for audience to pick their way through. Dance Floor can be found at 04.07 on the timeline               ​of the above video
            ​You can also go here for further information: http://www.visualfields.co.uk/NEDANCE.htm
  • Flaxton T. (2008) Water Table
            ​(other versions were made from 2010 onwards)
            ​projection onto a table top (72 inches by 40.5 inches - 16:9 aspect ratio standard and HD versions similar to the 12 seat version, table covered with large                   ​pebbles, Water Table can be found at 05.51 on the timeline of the above video. You can also go here for further information:             ​            ​            ​            ​
            ​http://www.visualfields.co.uk/NEWATER.htm
  • Flaxton T. (2008) The Dinner Party
            ​life-sized projection onto a table top (72 inches by 40.5 inches - 16:9, standard and HD versions) similar to IOPS but with 8 seats. The Dinner Party can be                 ​found at 08.43 on the timeline of the above video. You can also go here for further information http://www.visualfields.co.uk/IOPSVideo.htm
  • Flaxton T. (2008) Portraits of Glastonbury Tor
​            ​High Resolution Digital Installation. Can be found at 00.01 on the timeline above
            ​http://www.visualfields.co.uk/TORPORTRAITS.htm             ​Can be found at 03.18 on the timeline above
            ​http://www.visualfields.co.uk/cannaregio.htm
  • Flaxton T. (2008) The Unfurling on timeline Portfolio 2: 12.20
            ​This is a slightly different form of portraiture from the first two projects and I chose this to highlight the level of data capture. I later returned to the Carnival as
            ​an exposition within the new HDR pathway we were originating in the BBC White Paper at a later date (this not HDR). Can be found at 05.50 on the timeline
            ​above http://www.visualfields.co.uk/carnivalembed.htm             ​High Resolution Digital Installation. Can be found at 08.34 on the timeline above http://www.bristol.ac.uk/centenary/look/art/portraits-film.html
  • Flaxton T. (2010) Portraits of Spitalfields, London
            ​Can be found at 19.26 on the timeline above http://www.visualfields.co.uk/sixscreen.htm             ​Can be found at 21.50 on the timeline above http://www.visualfields.co.uk/sixscreen.htm             ​Can be found at 23.52 on the timeline above
            ​http://www.visualfields.co.uk/sixscreen.htm             ​Can be found at 26,00 on the timeline above
            ​http://www.visualfields.co.uk/history0.htm             ​A Moving Portrait of the Poet, Elizabeth Beech
            ​A Moving Portrait of the Artist, Charlotte Humpston
            ​A Moving Portrait of the Window Cleaner, Alfred Glasspole
            ​Can be found at 27.56 on the timeline above             ​An examination of abstracted digital Self Portraiture. Can be found at 31.12 on the timeline above
            ​http://www.visualfields.co.uk/PRINTS.htm             ​Can be found at 38.35 on the timeline above
            ​http://www.visualfields.co.uk/MP2InstallationExcerpt.ht
  • Flaxton T. (2009) The Sum of Hands
            ​High Resolution Digital Installation, a life-sized projection onto a table top (72 inches by 40.5 inches - 16:9 aspect ratio HD Video), similar to IOPS but with a               ​blurred effect filter (can be found at 10.01. on the timeline of the above video. You can also go here for further information             ​
            ​http://www.visualfields.co.uk/sumofhands.htm             High Resolution Digital Installation In Re Ansel Adams can be found at 00.01 on the timeline of the above video.
            http://www.visualfields.co.uk/ANSEL.html 
  • Flaxton T. (2008) Un Tempo Una Volta, High Resolution Digital Installation, Projection on 20 x 10 foot screen shot at 4K, projected at 2k. The screen was hung at 45 degrees, 15 feet above the audiences heads whilst they laid on a soft reflective surface. Un Tempo Una Volta can be found at 02.04 on the timeline above http://www.visualfields.co.uk/untempo.htm
I created three further artefacts to further explore the question with regard to the consumer experience of High Definition:             ​​Digital Single Screen Artworks, Salisbury and other locations Various screen sizes and resolutions I then created nine further artefacts investigating levels of scale of display in terms of both size and of resolution:
  • Flaxton T. (2010) Nine Moving Image Works to Investigate Ideas of Place and Space, Installations Various screen sizes and resolutions (primary exhibition work on either, 20 foot x 10 foot screens – or a series of 12 inch by 9 inch photoframes)
  • Flaxton T. (2010) Cathedral Steps, (After MC Escher) on timeline: 14.54
  • Flaxton T. (2010) James Loves Sarah, on timeline: 16.49
  • Flaxton T. (2010) The Divine Being on timeline: 17.37
  • Flaxton T. (2010) The Unfailing Landscape on timeline: 18.30
  • Flaxton T. (2010) Glastonbury Tor, Smoke Piece on timeline: 19.25
  • Flaxton T. (2010) Smoke Piece on timeline: 20.08
  • Flaxton T. (2010) The Elemental Wave, on timeline: 21.20
  • Flaxton T. (2010) Walking: In Re Richard Long on timeline: 22.12
  • Flaxton T. (2010) Wood, Wave, Wetland, Moor. Comprised of combinations of three works Smoke Piece, The Elemental Wave, Walking with the addition of Wetland Landscape, projected in a square of 20 foot x 10 foot screens, on timeline: 23.31
  • Flaxton T, (2012) The Human Condition - an HDR project for SIm2 Display. As this was encoded for HDR it will not play back at the correct luminance - however, it will give a flavour of what we were trying to achieve with a range of luminance
            ​90 minute High Resolution Digital single screen work investigating ideas of place and space and the notion of ‘truth’ in documentary ​1st iteration 2012 – not
            ​online            ​https://www.seditionart.com/terry-flaxton/collections             ​High Resolution Digital Installation, various links at this URL http://www.visualfields.co.uk/MP1.htm             ​https://www.seditionart.com/terry-flaxton/kings-canyon-northern-territory
  • Flaxton T, (2015) Westhay
            ​​Cinemontagehttps://www.seditionart.com/terry-flaxton/westhay-somerset
  • Flaxton T, (2015) FuertaVentura
​            ​Cinemontage 2015 https://www.seditionart.com/terry-flaxton/fuerteventura             ​https://www.seditionart.com/terry-flaxton/reflection-on-water             ​​A Cinemontage (Triptych) https://vimeo.com/163722046
  • Flaxton T, (2016) Portraits of New York, Inscribed
            ​https://www.seditionart.com/terry-flaxton/portraits-of-new-york             ​https://www.seditionart.com/terry-flaxton/the-divine-being-inscribed             ​​https://www.seditionart.com/terry-flaxton/drawings-and-inscriptions             ​https://www.seditionart.com/terry-flaxton/cathedral-steps-in-re-max-escher
  • Flaxton T, (2016) Line Dance for Norman McLaren 2016
            ​https://www.seditionart.com/terry-flaxton/linedance-for-norman-maclaren             ​https://www.seditionart.com/terry-flaxton/stained-glass-nature             ​https://www.seditionart.com/terry-flaxton/barcode-jesus-in-a-material-world             ​70 minute single screen work investigating ideas of place and space and the notion of truth in art and documentary Password: Somerset2473 
            ​https://vimeo.com/287655942 2nd iteration 2016             ​75 minute single screen work, (begun in 1989 1st draft was shown at Salisbury Arts Center 2010, but completed in 2013) – 2nd iteration  Password:             ​
            ​Marst2473 https://vimeo.com/260050145

EXHBITIONS            (This exhibition included the artefact Myth and Meaning in the Digital Age which summed up my developing attitude to the digital domain at this stage)
            I include this following video from a few months later not for the size but for the amount of works exhibited which was similar in number
            http://www.visualfields.co.uk/P3exhibition.m4v 
  • Flaxton T, (2012), An English Landscape’
            ​70 min, ideas of place and space and the notion of ‘truth’ in documentary (Watershed)
  • Flaxton T, (2012 - 2013) Harris Museum, Preston
​            ​In Re Ansel Adams, Accessioned and in the collection to be exhibited at various moments in perpetuity
  • Flaxton T, (2012), Milan Trienalle, Milan Museum of Design
            ​In Other People’s Skins
  • Flaxton T, (2012), High Resolution Portraiture within low resolution Photoframe display forms’
​            ​Corsham Court, Conference Exploring Transmedia Writing & Digital Creativity, Bath Spa University, 16th-18th July 2012
  • Flaxton T, (2012), Institute of Contemporary Arts, London, Prisoners
  • Flaxton T, (2012), Black Swan Gallery, Frome, Somerset
            ​Portraits of the Working People of Somerset,             ​Triptych: Portraits or the Youth of Bristol; In Other People’s Skins; Triptych: Portraits of Beijing, New York, Venice; In Re Ansel Adams
  • Flaxton T, (2014), Bristol Cathedral
            ​​Reflection on Water (for a visit by the Archbishop of Canterbury)
  • Flaxton T, (2014), Royal West of England Academy, Bristol
            ​Reflection on Water, The Sum of Hands
  • Flaxton T, (2015) In parallel, The Cathedral of St John the Divine,
            ​New York, Triptych, The Intersection of Dreams (In Re Salvador Dali) 1st Visit
  • Flaxton T, (2015) In parallel:  Bristol Cathedral,
            ​The Bristol Triptych: The Intersection of Dreams (In Re Salvador Dali)
  • Flaxton T, (2015), CMIR:ONE: UWE Arnolfni
            ​Portraits of Bristol Youth
  • Flaxton T, (2015), Strode Cinema, To Stand And Stare: An English Landscape
            ​ideas of place and space and the notion of ‘truth’ in documentary early iteration
  • Flaxton T, (2015), The Cathedral of St John the Divine
            ​In Other People’s Skins (2nd visit) New York
  • Flaxton T, (2016) Presidential Palace, Florence
            ​In Other People’s Skins
  • Flaxton T, (2016), CMIR:THREE
            ​Arnolfini Bristol, Portraits of Bristol Youth
  • Flaxton T, (Oct 2016 - March 2017) The Cathedral of St John the Divine, NY
            ​The Intersection of Dreams (In Re Salvador Dali - Triptych) 2nd Visit
  • Flaxton T, (2016), Atkinson Gallery Somerset
            ​Landscape Triptych Westhay, Kings Canyon, Fuertaventura
  • Flaxton T, (2016), RWA 2016 Bristol
            ​Reimagining Venice (Mosaic Triptych)
  • Flaxton T, (2016), CMIR: TWO, CentreSpace Bristol 
            ​​Barcode Jesus in a Material World
CO-AUTHORED ARTICLE BBC RESEARCH AND DEVELOPMENT WHITE PAPER             Co-authored BBC Research and Development White Paper on HDR Production,
            ​https://www.academia.edu/5125103/Production_of_Higher_Dynamic_Range_Video
 
ARTICLES            Showreel Magazine, A professional journal article introduced some of the issues for a professional             ​        
            audience: http://www.academia.edu/227289/Feeding_the_WorldFlaxton, T. (2011) HD Aesthetics
            Showreel Magazine, A professional journal article introduced some of the issues for a professional             ​        
            audience: http://www.academia.edu/227289/Feeding_the_WorldFlaxton, T. (2011) HD Aesthetics 
            Showreel Magazine, A professional journal article introduced some of the issues for a professional             ​        
            audience: http://www.academia.edu/227289/Feeding_the_WorldFlaxton, T. (2011) HD Aesthetics
            Showreel Magazine, A professional journal article introduced some of the issues for a professional             ​        
            audience: http://www.academia.edu/227289/Feeding_the_World
            Journal of Media Practice ​Volume 10 Nos 2 and 3, 2009, pp. 123-147. This was the first article to critically reflect
            on the effect of the creation and exhibition of the artefacts associated with this (and other) portfolios 
            http://www.academia.edu/204068/Time_and_Resolution_Experiments_in_high_definition_image_making ​​            Sage, Volume 17, Number 2, May 2011, (Pages 113 – 123, 6000            
            Words) www.academia.edu/510723/HD_Aesthetics This         
            ​article updates The Technologies, Aesthetics, Philosophy and Politics of High Definition Video from Portfolio 2 to
            record the changes in technical developments in the medium
  • Convergence, Sage, Volume 17, Number 2, May 2011, (Pages 113 – 123, 6000 Words).             ​
            http://www.academia.edu/510723/HD_Aesthetics             Journal of Media Practice, 14 (3). pp. 211-230. ISSN 1468-2753 
            ​Initially a conference paper, then an online peer-reviewed article. http://ses.library.usyd.edu.au/handle/2123/9655
BOOK CHAPTERS             ​Book Chapter for ‘Digital Light’, , Editors: Sean Cubitt, Daniel Palmer, Nathaniel Tkacz and Les Walkling (eds),
            ​Digital Light, Sydney: fibreculture/Open Humanities Press, Full
            ​Text http://openhumanitiespress.org/books/download/Cubitt-Palmer             ​            ​
            ​​Tkacz_2015_DigitalLight.pdf 2013 http://www.visualfields.co.uk/DigitalLight.pdf 
the_future_of_the_moving_image.pdf
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cityspacemindspace.pdf
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CONFERENCES            ​(published online at Academia.edu). In this paper I begin to explore the nature of attention and the gaze so it signals the beginnings of my realisation I should
            ​now begin to think through the relationship of the technology of capture and display and the nature of the sentient consciousness that was looking at the
            ​​mediated form of the world and what that might mean
            ​http://www.academia.edu/259359/New_understanding_of_the_mimetic_and_the_diegetic_in_the_creation_of_art_Xian_Academy_of_FIne_Arts_July_2010
            ​​Athens, 8th International Conference on Communication and Mass Media, 2011.             ​
            ​http://www.academia.edu/580827/The_Creation_of_Digital_Art_in_a_Post_Digital_World
            ​​​Postdigital Encounters, creativity and improvisation. Watershed Media Center, Journal of Media Practice Symposium. (published on conference website and
            ​at Academia.edu) http://www.academia.edu/694011/High_Definition_Imaging_The_Paradox_of_Creativity_Within_the_Academy
            Mix: A Conference exploring Transmedial Writing and Digital Creativity, Bath Spa University July 2012        
            http://www.academia.edu/1790101/Technology_and_Creativity_at_a_Moment_of_Digital_Transformation
  • Flaxton,T. (2012) The Soft Machine Wilderness
            ISEA, Albuquerque, September 2012  http://www.academia.edu/2023894/The_Soft_Machine_Wilderness             Digital Aesthetics Conference (3), University of Central Lancashire, October 2012     
            http://www.academia.edu/2023909/The_Developing_capabilities_of_Digital_Cinematography_2013             International Symposium of the Electronic Image, Sydney 2013.  Info ISEA 2013 Laura Fisher [email protected]
  • Flaxton,T. (2015) CitySpaceMindSpace How to Read Los Angeles Bahman and McLuhan in the Light of Cognitive Neuro-Scientific Theories of Comprehension
            Burbank University Los Angeles 2015 (later became a book chapter after rewrite) ​             https://www.academia.edu/38235460/_Waves_of_Technology_for_ISEA_Vancouver_Including_script_for_panel_introductions.pdf
 
INVITED TALKS TO RESEARCH COMMUNITIES
  • Flaxton T. (2009) High Definition Technologies and Aesthetics, Bergen Institute of Fine Art 2009. 
  • Flaxton T. (2009), Milan University. This presentation is similar to a paper given in Cardiff in the previous year. For verification please contact Professor Sandra Lischi of Milan University: [email protected]​
  • Flaxton T. (2010) Westminster University Research Presentation to CREAM Research Community
  • Flaxton T. (2010) Myth and Meaning in the Digital Age ETH Zurich
            http://www.academia.edu/353880/Myth_and_Meaning_in_the_Digital_Age
  • Flaxton,T. (2011) The Future of High Resolution Imaging
            Invited talk to BBC Research and Development and members of the engineering teams, BBC Bristol.
  • Flaxton,T. (2012) The Future of 3D
            Invited talk to members of Pervasive Media Studio and General Public, Watershed Media Center.
  • Flaxton,T. (2012) Capturing the Hyper Real: The Cinematographers Eye
            Talk to Research Community at York University – February 29th 2012     
            http://www.academia.edu/1146433/Capturing_the_Hyper_Real_The_Cinematographers_Eye             time_continue=4&v=rU35wQnO-JQ
  • Flaxton,T. (2015) HDR Technology and the Future
    Science and Technology Committee Academy of Motion Pictures Arts and Sciences
  • Flaxton,T. (2016) The Mind, the Gaze, the Lens and the Sensor: Future Cinematography
    American Society of Cinematographers Cinematography Summit