PRODUCTIVITY AND QUALITY MANAGEMENT

TOPIC: Cinematic thinking

SUBMITTED BY: SY B.M.S DIV B Pratiksha shah ROLL NO.31

Cinematic thinking

How do professionals follow?

Sometimes profession can affect the way you see things and the way you structure outer activities that are part from your everyday life. In some cases the profession that we follow can affect the lifestyle that we lead and reshape thing in our life. In outer cases the switch from one type of thinking to neuter takes some time and it can be an interesting process. In this case the way you think about a project has to change and become more permissive with abstract events and actions. Experiment becomes important at a certain level and concepts as rationality can be left behind. In the cinematic world movement and image have an important spot and the epic part of the process glues them together. In many cases you have to start from scratch with things both conceptually and tool related. The cinematic offers a lot of space for experiment and innovation, it s and imaginative reality that is fluid and unstable So the re!uirements to start something is to open the imagination and to let the mind to be inspired or influenced by everything all the time , in a lot of cases a recording machine type of thinking can be useful . " movie is a new and independent universe that is sealed in a bubble that remains the same. " film can take things in a different part and immerse the spectator in a universe that is placed in a different time, planet or world. These features make the difference between the types of thinking, architecture, when is in a incipient phase does not re!uire a certain audio related way of editing, but film re!uires talents that are related to sound and situations. In some cases directors can be seen as geniuses that can affect their audience in a deep way, using situations, sound, story that can make the public to

behave and to become different after the interaction with the film. #edia is composed in many cases from movies that can move us or change the way we see things in general. "rtistic collaborations are tricky, particularly when one artist has to execute the vision of another. Thus, the role of the film transfer process and the colorist heading up that process are crucial when crafting a cinematic commercial. Emphasi$ed that they are extremely careful when choosing a colorist. %The whole key to conveying a cinematic impression is to try and bring out what is on the film, what the director was intending when he shot it, not re&interpreting it. That means the colorist must really understand the capabilities of his e!uipment. 'ust because your machine is capable of a particular effect doesn t mean you should use that capability. (reating a cinematic feel, as opposed to a more contrived look, re!uires a mix of talent and the ability to interact with the creative people on the project&particularly the director . "gencies often show it e!uivalent to storyboards, pieced together with images from other commercials, films, and still photography and they routinely have film references in them. That can help give you a guide early in the process. "ccording to some experts, cinematic commercials tend to make better use of the full range of the colors within the image shot on film. In any case, he says it is imperative to communicate about the spot s goals during initial creative planning sessions. So, in that sense, it is more than just the color palette&it is a contrast thing. (ontrasting the images so that they stay in the realm of realism is how you achieve a cinematic look. For Example:

The works of poets are classified or grouped according to the new techni!ues that poets discover and share, and according to their arrangement and development of the resources of language, poets are much more concerned with arranging images than with creating .them. Images are given to poets) the ability to remember them is far more important than the ability to create them. More information on cinematic thinking *or many generations of the English language learners the reading of classical literature in the original has been the measure of their language level. There are many various methods and techni!ues used by teachers in order to assist students in raising both their language competence and cultural awareness, and the viewing of film versions ranks as one of the well&tried and established methods among them. (onveying its messages via different receptive channels, primary visual and auditory, along with a recreational potential recogni$ed by an audience and an educational one acknowledged by educators, the cinema possesses a great aesthetical potential which allows considering it to be an art. +efinitely not all films can be rated as artworks since many of them are made to satisfy a mass consumer s urge to entertain and at the same time function as an economic enterprise for film producers. *ilm which was created not as an entertainment medium but rather scientific experiment to demonstrate the phenomenon of persistence of vision. throughout the history of film, the development of a film s external structure has allowed filmmakers to reveal the internal structure of a story in new and creative ways ,'oniak -../0 -&/1, gradually merging it in the kingdom of other arts.

"s any art, film is multifunctional0 it can serve as a means of the distribution of information ,informative function1, a set of knowledge ,cognitive function1, shape a public opinion ,ideological function1, reflect the cultural norms of a society ,cultural function1, raise moral standards ,ethical function1, promote the notion of beauty and artistic values ,aesthetic function1, facilitate people s and peoples communication ,communicative function1, play a significant role as a %national pastime% ,recreative function1 and bring an audience emotional enjoyment ,hedonistic function1. In addition, %film has the power to invoke societal change and open audiences eyes to new perspectives of the human experience.% ,'oniak -../0 21 Indeed, despite a vast literature devoted to film & historical, technical, sociological & very little material instructs a viewer in how to attend to films for the sake of increased pleasure and understanding. %3e many have believed that possessing information about a work of art was the highroad to pleasure and understanding) but it is the !uality of fused perceptions that accounts for the intensity of aesthetic experience.% ,*eldman 245-0 6671 8ooking at the screen still does not mean understanding a film. "ccording to +ick ,24490 viii1, %visual thinking is an intellectual act) it is not the passive watching of a :flick;.% The perception of art is a small model of the perception of the world, a means of its cognition. The conditions of contemporary life do not demand as much of our perceptual capacities as we are e!uipped to supply. %<erhaps aesthetic pleasure is, in fact, the satisfaction experiences in employing to the full our innate capacities for perception.% ,*eldman 245-0 6/1 In connection with film viewing it is possible to distinguish between two types of perception0 21 a direct one during the act of watching, and -1 a critical one which takes place in the form of post&viewing reflections on the

issues seen. #oreover, any art is always co&creativity as %artist & artwork & recipient% is a highly dynamic (ommunicative system. The process of film production is the encoding of filmmakers message while the process of viewing presumes it;s decoding, picking up cues and filling gaps. In modern art an artist does not offer ready truths) a truth is born in the process of perception as a result of a dialogue between the artist and the spectator. The spectator s inner speech is taken into consideration while structuring an art work. The active role of a viewer is especially advocated by representatives of cognitive psychology with its assumption that %humans seek to make sense out of their environment by testing hypotheses and drawing interferences, offers many intriguing leads for an account of the spectator s activity.% ,=ardwell, Thompson 24520 621 . Thinking (inematic is dedicated to hybrid documentary and the exploration of the cinematic form. Short documentary videos featured here explore a myriad of issues, ideas, concepts and critical approaches to movies and visual media. Sometimes profession can affect the way you see things and the way you structure outer activities that are part from your everyday life. In some cases the profession that we follow can affect the lifestyle that we lead and reshape thing in our life. In outer cases the switch from one type of thinking to amateur takes some time and it can be an interesting process. =eing part of the architectural field for a while made me %think % in an architectural way about things in general, decoration was not needed anymore, structure and straightness had become important and rationality was never !uestioned) but I changed my studies to the visual field where things leave the physical realm and go in the realm or the imaginary scripting, epic and bidimensionality . In this case the way you think about a

project has to change and become more permissive with abstract events and actions. Experiment becomes important at a certain level and concepts as rationality can be left behind. In the cinematic world movement and image have an important spot and the epic part of the process glees them together. In many cases you have to start from scratch with things both conceptually and tool related. The cinematic offers a lot of space for experiment and innovation, it s and imaginative reality that is fluid and unstable. In the architecture laws of gravity can change things related to the project but in the world of visuals you can work with a multiple canvases that can be assembled in a epic event that has the final form of an film or video. So the re!uirement to start something is to open the imagination and to let the mind to be inspired or influenced by everything all the time, in a lot of cases a recording machine type of thinking can be useful. " movie is a new and independent universe that is sealed in a bubble that remains the same. " film can take things in a different part and immerse the spectator in a universe that is placed in a different time, planet or world. These features make the difference between the types of thinking, architecture, when is in a incipient phase does not re!uire a certain audio related way of editing , but film re!uires talents that are related to sound and situations . In some cases directors can be seen as geniuses that can affect their audience in a deep way, using situations , sound , story that can make the public to behave and to become different after the interaction with the film . #edia is composed in many cases from movies that can move us or change the way we see things in general.