The impact of digital technologies on the production and consumption of moving images 2007-2016
Introduction: practice as research as an investigative tool and methodology
Practice as Research proposes that new knowledge can be gleaned via creating research artefacts to investigate creative subject areas and involves the following procedure:
A ‘Practice As Research Portfolio’ (PARP) utilises the above procedure and is a grouping of research artefacts or outputs around a specific theme or question to reveal new insights in the subject area. This commentary will identify relevant connected research patterns through the following schema of PARPs:
1: High Definition Video and Experiences of Immediacy and the Environment
investigates the capture of images of the immediate environment and the effects of projection and display of those images on familiar objects domestically close to us
2: High Resolution Motion Images and the Iconic Image
investigates the production of images of the wider environment to establish if the use of higher resolutions can refresh and deepen audience engagement
3: Images of High Resolution Portraiture
examines whether increases of resolution with life-sized moving image portraiture increases audience engagement
4: Understanding Digital Cinematography
comprises of a series of online based resources, traditional text based resources, plus engagements with professional research communities using Higher Dynamic Range research (HDR) as the site of investigation and knowledge exchange.
Research in the subject area is concerned with the three parameters that define high definition video over and above standard definition video. These are:
The question arises ‘what is meant by higher?' In this case this refers to the resolutions set at the beginning of television. Since the beginning of the changeover from older Standard Definition images then known as PAL (Phase Alternate Line), which had an interlaced 625 line count (therefore was 312.5 lines of resolution) when rendered for digitisation was 768 by 576 pixels – the previous Black and white system was EMI’s 405 line system and before that Baird’s system was 240 lines).*
So increases of resolution above that of the PAL system, would commonly come to be known as High Definition (1920 x 1080 pixels). By 2007 we had achieved 4k resolution which was 3840 x 2160) and by 2012 8k resolution (7680 x 4320). The holy grail of research is concerned with discovering what combination of increases of the three parameters can perform an acceptable definition of the subject’s next status. Basically this is not just an increase of resolution, it is the combination of resolution, frame rate and dynamic range that will define a step change in that designation. HDR and HFR will be taken up during the commentary.
Within each individual portfolio I will describe how artefacts were created for a timely set of reasons, were highly regarded at the time, plus substantiate my claim for the originality, significance and discipline applied when creating and delivering research. Overall, this commentary will seek to demonstrate the continuing relevance of the research as an original and rigorous contribution to knowledge. My commentary will identify a through-line by identifying key elements within each portfolio and then utilising each of these to create a scaffolded narrative of my research framework as a whole.
Examiners will receive a URL to download a pdf of the commentary with directions on how to access the materials on this website. Hard copies of the articles and book chapters will contain traditional publications will be made available at the viva or before if requested. The online links to HD images will enable an approximation of the experience of high definition and ultra high definition cinematography (4k or 3840 x 2160 pixels) that I was able to begin capturing regularly from 2008 onwards. If requested I can enable screening at the viva to bring the actual HD and 4k experience home to the examiners (this was the currency of exchange at various industry meetings). To emphasise the visual elements on this website are an approximation of the final resolutions achieved.
Portfolio 4 will be represented complete within this commentary in online forms and is an exposition of how dissemination can be intimately entwined with the production of new knowledge together with various links to its online resources in this part of the commentary.
It should be understood by the reader that during my first AHRC Research Fellowship (2007 – 2010) I could rarely demonstrate the actual effects of high resolution outside of the special conditions provided by the construction and exhibition of the artefacts themselves . In effect the display technology was often not available at conference or talks to research communities, which why exhibitions were so important as research outputs. For instance, in speaking to the BBC I exhibited to them the concepts I was speaking about because this would be a professional community directly affected by my research - and importantly was one of the first knowledge exchange events I was engaged in.
High Definition Projection only became available at a cost universities could afford across their various faculties towards the end of 2010 and in some institutions as late as 2013.
*Baird developed a system of high-definition colour television in which the subject was scanned by a rapidly moving spot of light projected from a small but very powerful cathode ray tube. A patent was applied for in October 1940 and the first public demonstration was given in December 1940. He later went on to call for a 2000 line system to fully engage eye and brain. Click here for further information.
NEXT: Prologue: My prior Development as an Industry Practitioner, Artist & Academic
- Investigate theoretical and practical context of subject area
- Construct research question from perceived gaps in that knowledge
- Reflect and then respond with research hypothesis
- Encode research hypothesis within artefact
- Exhibit artefact, collect data and evaluate the efficacy of the research Artefact via audience response
- Critically reflect on the research process up to this point in traditional academic forms (peer-reviewed articles)
- Present conclusions to Conference and indicate further research
A ‘Practice As Research Portfolio’ (PARP) utilises the above procedure and is a grouping of research artefacts or outputs around a specific theme or question to reveal new insights in the subject area. This commentary will identify relevant connected research patterns through the following schema of PARPs:
1: High Definition Video and Experiences of Immediacy and the Environment
investigates the capture of images of the immediate environment and the effects of projection and display of those images on familiar objects domestically close to us
2: High Resolution Motion Images and the Iconic Image
investigates the production of images of the wider environment to establish if the use of higher resolutions can refresh and deepen audience engagement
3: Images of High Resolution Portraiture
examines whether increases of resolution with life-sized moving image portraiture increases audience engagement
4: Understanding Digital Cinematography
comprises of a series of online based resources, traditional text based resources, plus engagements with professional research communities using Higher Dynamic Range research (HDR) as the site of investigation and knowledge exchange.
Research in the subject area is concerned with the three parameters that define high definition video over and above standard definition video. These are:
- Higher Resolution (HR)
- Higher Dynamic Range (HDR)
- Higher Frame Rates (HFR)
The question arises ‘what is meant by higher?' In this case this refers to the resolutions set at the beginning of television. Since the beginning of the changeover from older Standard Definition images then known as PAL (Phase Alternate Line), which had an interlaced 625 line count (therefore was 312.5 lines of resolution) when rendered for digitisation was 768 by 576 pixels – the previous Black and white system was EMI’s 405 line system and before that Baird’s system was 240 lines).*
So increases of resolution above that of the PAL system, would commonly come to be known as High Definition (1920 x 1080 pixels). By 2007 we had achieved 4k resolution which was 3840 x 2160) and by 2012 8k resolution (7680 x 4320). The holy grail of research is concerned with discovering what combination of increases of the three parameters can perform an acceptable definition of the subject’s next status. Basically this is not just an increase of resolution, it is the combination of resolution, frame rate and dynamic range that will define a step change in that designation. HDR and HFR will be taken up during the commentary.
Within each individual portfolio I will describe how artefacts were created for a timely set of reasons, were highly regarded at the time, plus substantiate my claim for the originality, significance and discipline applied when creating and delivering research. Overall, this commentary will seek to demonstrate the continuing relevance of the research as an original and rigorous contribution to knowledge. My commentary will identify a through-line by identifying key elements within each portfolio and then utilising each of these to create a scaffolded narrative of my research framework as a whole.
Examiners will receive a URL to download a pdf of the commentary with directions on how to access the materials on this website. Hard copies of the articles and book chapters will contain traditional publications will be made available at the viva or before if requested. The online links to HD images will enable an approximation of the experience of high definition and ultra high definition cinematography (4k or 3840 x 2160 pixels) that I was able to begin capturing regularly from 2008 onwards. If requested I can enable screening at the viva to bring the actual HD and 4k experience home to the examiners (this was the currency of exchange at various industry meetings). To emphasise the visual elements on this website are an approximation of the final resolutions achieved.
Portfolio 4 will be represented complete within this commentary in online forms and is an exposition of how dissemination can be intimately entwined with the production of new knowledge together with various links to its online resources in this part of the commentary.
It should be understood by the reader that during my first AHRC Research Fellowship (2007 – 2010) I could rarely demonstrate the actual effects of high resolution outside of the special conditions provided by the construction and exhibition of the artefacts themselves . In effect the display technology was often not available at conference or talks to research communities, which why exhibitions were so important as research outputs. For instance, in speaking to the BBC I exhibited to them the concepts I was speaking about because this would be a professional community directly affected by my research - and importantly was one of the first knowledge exchange events I was engaged in.
High Definition Projection only became available at a cost universities could afford across their various faculties towards the end of 2010 and in some institutions as late as 2013.
*Baird developed a system of high-definition colour television in which the subject was scanned by a rapidly moving spot of light projected from a small but very powerful cathode ray tube. A patent was applied for in October 1940 and the first public demonstration was given in December 1940. He later went on to call for a 2000 line system to fully engage eye and brain. Click here for further information.
NEXT: Prologue: My prior Development as an Industry Practitioner, Artist & Academic
Moving Image Arts Research is concerned with exploring the histories, theories, technologies, cultures and politics of moving image art production, interaction and reception.
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