15 research outputs found

    Interaction design for situated media production teams

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    PhD ThesisMedia production teams are the backbone of many media industries including television, sport gatherings and live music events. These domains are characterised by a key set of situational factors which significantly impact on the collaborative production workflow, such as temporality, professional concerns and mission criticality. The availability of new interaction technologies presents an opportunity to design systems to support these teams in these complex environments, leveraging the affordances of interaction technologies in response to the situated factors that impact specifically on these types of domains. StoryCrate and ProductionCrate, two large-scale real-world prototype systems for supporting situated media production teams were designed and deployed to explore the interaction design considerations that could support these teams in specific scenarios. Through an extensive analysis of these deployments, key design considerations, interaction techniques and modalities are presented that can be developed in response to the situational factors found in collaborative media production environments

    TryFilm : Situated Support for Interactive Media Productions

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    The emergence of participatory, on-demand and interactive media is changing the media production landscape. Producing interactive media is often more complex than creating traditional linear films, resulting in increased pressure for production teams. In this paper we explore what implications this has for cast and crew who participate in the production of such new media. We explore how collaborative technologies can support creative practitioners, within these challenging settings. We present TryFilm, a collaborative editing system, designed by the authors and deployed during an interactive film shoot by a small film company featuring a cast of early career actors

    The challenges of using biodata in promotional filmmaking

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    We present a study of how filmmakers collected and visualised physiological data---'biodata'---to construct a series of short promotional films depicting people undergoing 'thrilling' experiences. Drawing on ethnographic studies of two major advertising campaigns, we highlight key concerns for integrating sensors and sensor data into film production. Our findings address the perceived benefits of using biodata within narratives; the nature of different on-screen representations of biodata; and the challenges presented when integrating biodata into production processes. Drawing on this, we reconsider the nature of information visualisation in the filmmaking context. Further implications from our case studies provide recommendations for HCI collaborations with filmmaking and broadcast industries, focussing both on the practical matters of fitting sensor technologies into and handling data within production workflows, as well as discussing the broader implications for managing the veracity of that data within professional media production

    Collaborative video editing

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    Samarbeid i videoredigering Denne avhandlingen tar opp følgende spørsmål: Hvordan kan vi støtte samarbeid i videoredigering? I ulike anvendelsesområder, som skriving og design, er bruk av samarbeidsverktøy utbredt. Likevel er programvare for videoredigering i hovedsak utviklet for individuell bruk. Videoredigering bør forstås som en sosial aktivitet og blir i profesjonelle sammenhenger ofte utført som et samarbeid mellom ulike aktører. Basert på intervjuer og designverksteder, undersøker denne avhandlingen hvordan videoredigerere samarbeider og utforsker mulighetsrommet for å støtte samarbeid i videoredigering gjennom design av nye løsninger. I tre studier undersøker denne avhandlingen videoredigering fra tre perspektiver. Først undersøker den samarbeidspraksiser blant profesjonelle videoredigerere og identifiserer ulike strategier og sosiale mekanismer som brukes for å oppnå enighet mellom aktørene som er involvert i videoproduksjon. Denne første studien identifiserer ni temaer som beskriver hvordan videoredigerere håndterer usikkerhet og oppnår enighet, spesielt gjennom organisatoriske mekanismer, dokumentasjon og ikoniske referanser. Studien foreslår også tre ulike retninger for design av nye løsninger for å støtte samarbeid i videoredigering. Det andre studiet undersøker videoproduksjon fra et organisatorisk perspektiv, med fokus på en pågående overgang til distribuert arbeid og dets innvirkning på videoproduksjon. Den andre studien skisserer de kortsiktige og langsiktige implikasjonene av å innføre distribuerte arbeidsformer i TV-produksjonsorganisasjoner under COVID-19-pandemien. Den siste studien ser på samarbeid i videoredigering som et designproblem og presenterer designideer for hvordan man kan støtte et slikt samarbeid. I tillegg peker denne studien på utfordringer som kan være til hinder for innføringen av nye videoredigeringsverktøy som skal støtte samarbeid. Ved å sammenstille resultatene fra de tre studiene, samt analysere tidligere forskning og eksisterende videoredigeringsverktøy, identifiserer avhandlingen tre designtilnærminger for å støtte samarbeid i videoredigeringsprogramvare: holistisk, skreddersydd og konfigurerbar. Selv om disse tilnærmingene diskuteres med tanke på samarbeid i videoredigeringspraksiser, kan de tilby et bredere analytisk rammeverk for å vurdere utformingen av samarbeidsverktøy også for andre anvendelsesområder.This thesis addresses the following question: how can collaboration be supported in video editing? In many domains, such as writing and design, collaborative tools have become common and widespread. However, video-editing software is still predominantly designed for solo users. Nevertheless, video editing is a social activity that, in a professional setting, often involves various people working together. Based on interviews and design workshops, this thesis investigates the collaborative practices of video editors and explores the design space of collaborative video editing. In three studies, this thesis looks at video editing from three angles. First, it investigates the collaborative practices of video editors and identifies the strategies and social mechanisms they employ to reach agreements with various parties involved in the videoproduction process. The first study identifies nine themes that characterise the ways video editors manage uncertainties and reach agreements, particularly through organisational mechanisms, documentation, and iconic referencing. The study also suggests three design paths to explore further. Second, it examines video production from an organisational point of view, focusing on the recent shift towards remote work and its impact on video production. The second study delineates the short-term and long-term implications of adopting remote work in TV production organisations during the COVID-19 pandemic. Third, it approaches collaborative video editing as a design problem and offers design ideas to enhance collaboration. Additionally, it uncovers challenges that might impede the adoption of new collaborative video-editing tools. In synthesising the results of the three studies, as well as analysing previous research and existing video-editing tools, this thesis identifies three design approaches for supporting collaboration in video-editing software: holistic, tailored, and configurable. While discussed in the context of collaborative video editing, these approaches offer a broader analytical framework for considering the design of collaborative production tools.Doktorgradsavhandlin
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