Protocols and Software for Simplified Educational Video Capture and Editing

Recently, educational videos have become important parts of e-learning systems which have in turn become widely used due to their flexibility. These videos should be of high quality since higher production values lead to superior learning outcomes. However, creating high-quality video is a difficult task for teachers since it needs technical knowledge that includes video recording and timeline usage. Hence, creating educational video production software, that is at the same time easy-to-use and able to produce high-quality educational videos, is very advantageous. In this paper, we developed protocols for an easy-to-use piece of software that enables teachers who have little technological background to produce their own educational videos autonomously. In fact, our contribution is to reduce the complexity of the whole video production process by introducing a preparation step based on micro-teaching and upstream specification. An evaluation of the software with six teachers is performed. This evaluation, based on think-aloud protocol and quantitative measurements, showed that the introduction of the preparation step allowed the participant teachers to produce high-quality educational videos in less than three hours

Student experiences with instructional videos in online learning environments

Drawing upon qualitative methods of semi-structured interviews and observational talk-through interviews, this qualitative dissertation investigates the ways in which graduate students in an online course context experience online instructional videos. A conceptual framework of user experience and multimodality, as well as the framework of sense-making developed by McCarthy and Wright (2004) guided this study and data analysis. The findings of this dissertation have implications for how students are participating in, interacting with, and making sense of online learning environments. Some of the findings of this research include: (a) students do not necessarily experience course videos as discrete elements (or differentiate them with other aspects of the course); (b) the times and contexts in which students view instructional videos shifts (e.g., between home and commuting); (c) student motivations and expectations shape how they approach and orient themselves towards watching online course videos; and (d) multimodal design elements influence students’ meaning-making of online instructional videos. These data findings are all in support of the overarching conclusion of this dissertation, which is that students have significant agency in these online environments, and their meaning-making of online videos may not align with designers’ intentions. This conclusion argues against deterministic views of design. The emerging findings have design implications related to the creation of learning environments in online spaces, such as: (a) fully integrating videos within the broader instructional design of a course; (b) foregrounding the embedded context of instructional videos; and (c) accounting for the shifting times, places, and contexts in which viewers watch instructional videos. This dissertation is situated in the growing field of online education, in particular higher education, where significant money and resources are increasingly dedicated towards the development of online spaces while still much is unknown in relation to the design, experiences, and impact of these online learning environments

Learning in vision and robotics

I present my work on learning from video and robotic input. This is an important problem, with numerous potential applications. The use of machine learning makes it possible to obtain models which can handle noise and variation without explicitly programming them. It also raises the possibility of robots which can interact more seamlessly with humans rather than only exhibiting hard-coded behaviors. I will present my work in two areas: video action recognition, and robot navigation. First, I present a video action recognition method which represents actions in video by sequences of retinotopic appearance and motion detectors, learns such models automatically from training data, and allow actions in new video to be recognized and localized completely automatically. Second, I present a new method which allows a mobile robot to learn word meanings from a combination of robot sensor measurements and sentential descriptions corresponding to a set of robotically driven paths. These word meanings support automatic driving from sentential input, and generation of sentential description of new paths. Finally, I also present work on a new action recognition dataset, and comparisons of the performance of recent methods on this dataset and others

Identification, synchronisation and composition of user-generated videos

Cotutela Universitat Politècnica de Catalunya i Queen Mary University of LondonThe increasing availability of smartphones is facilitating people to capture videos of their experience when attending events such as concerts, sports competitions and public rallies. Smartphones are equipped with inertial sensors which could be beneficial for event understanding. The captured User-Generated Videos (UGVs) are made available on media sharing websites. Searching and mining of UGVs of the same event are challenging due to inconsistent tags or incorrect timestamps. A UGV recorded from a fixed location contains monotonic content and unintentional camera motions, which may make it less interesting to playback. In this thesis, we propose the following identification, synchronisation and video composition frameworks for UGVs. We propose a framework for the automatic identification and synchronisation of unedited multi-camera UGVs within a database. The proposed framework analyses the sound to match and cluster UGVs that capture the same spatio-temporal event, and estimate their relative time-shift to temporally align them. We design a novel descriptor derived from the pairwise matching of audio chroma features of UGVs. The descriptor facilitates the definition of a classification threshold for automatic query-by-example event identification. We contribute a database of 263 multi-camera UGVs of 48 real-world events. We evaluate the proposed framework on this database and compare it with state-of-the-art methods. Experimental results show the effectiveness of the proposed approach in the presence of audio degradations (channel noise, ambient noise, reverberations). Moreover, we present an automatic audio and visual-based camera selection framework for composing uninterrupted recording from synchronised multi-camera UGVs of the same event. We design an automatic audio-based cut-point selection method that provides a common reference for audio and video segmentation. To filter low quality video segments, spatial and spatio-temporal assessments are computed. The framework combines segments of UGVs using a rank-based camera selection strategy by considering visual quality scores and view diversity. The proposed framework is validated on a dataset of 13 events (93~UGVs) through subjective tests and compared with state-of-the-art methods. Suitable cut-point selection, specific visual quality assessments and rank-based camera selection contribute to the superiority of the proposed framework over the existing methods. Finally, we contribute a method for Camera Motion Detection using Gyroscope for UGVs captured from smartphones and design a gyro-based quality score for video composition. The gyroscope measures the angular velocity of the smartphone that can be use for camera motion analysis. We evaluate the proposed camera motion detection method on a dataset of 24 multi-modal UGVs captured by us, and compare it with existing visual and inertial sensor-based methods. By designing a gyro-based score to quantify the goodness of the multi-camera UGVs, we develop a gyro-based video composition framework. A gyro-based score substitutes the spatial and spatio-temporal scores and reduces the computational complexity. We contribute a multi-modal dataset of 3 events (12~UGVs), which is used to validate the proposed gyro-based video composition framework.El incremento de la disponibilidad de teléfonos inteligentes o smartphones posibilita a la gente capturar videos de sus experiencias cuando asisten a eventos así como como conciertos, competiciones deportivas o mítines públicos. Los Videos Generados por Usuarios (UGVs) pueden estar disponibles en sitios web públicos especializados en compartir archivos. La búsqueda y la minería de datos de los UGVs del mismo evento son un reto debido a que los etiquetajes son incoherentes o las marcas de tiempo erróneas. Por otra parte, un UGV grabado desde una ubicación fija, contiene información monótona y movimientos de cámara no intencionados haciendo menos interesante su reproducción. En esta tesis, se propone una identificación, sincronización y composición de tramas de vídeo para UGVs. Se ha propuesto un sistema para la identificación y sincronización automática de UGVs no editados provenientes de diferentes cámaras dentro de una base de datos. El sistema propuesto analiza el sonido con el fin de hacerlo coincidir e integrar UGVs que capturan el mismo evento en el espacio y en el tiempo, estimando sus respectivos desfases temporales y alinearlos en el tiempo. Se ha diseñado un nuevo descriptor a partir de la coincidencia por parejas de características de la croma del audio de los UGVs. Este descriptor facilita la determinación de una clasificación por umbral para una identificación de eventos automática basada en búsqueda mediante ejemplo (en inglés, query by example). Se ha contribuido con una base de datos de 263 multi-cámaras UGVs de un total de 48 eventos reales. Se ha evaluado la trama propuesta en esta base de datos y se ha comparado con los métodos elaborados en el estado del arte. Los resultados experimentales muestran la efectividad del enfoque propuesto con la presencia alteraciones en el audio. Además, se ha presentado una selección automática de tramas en base a la reproducción de video y audio componiendo una grabación ininterrumpida de multi-cámaras UGVs sincronizadas en el mismo evento. También se ha diseñado un método de selección de puntos de corte automático basado en audio que proporciona una referencia común para la segmentación de audio y video. Con el fin de filtrar segmentos de videos de baja calidad, se han calculado algunas medidas espaciales y espacio-temporales. El sistema combina segmentos de UGVs empleando una estrategia de selección de cámaras basadas en la evaluación a través de un ranking considerando puntuaciones de calidad visuales y diversidad de visión. El sistema propuesto se ha validado con un conjunto de datos de 13 eventos (93 UGVs) a través de pruebas subjetivas y se han comparado con los métodos elaborados en el estado del arte. La selección de puntos de corte adecuados, evaluaciones de calidad visual específicas y la selección de cámara basada en ranking contribuyen en la mejoría de calidad del sistema propuesto respecto a otros métodos existentes. Finalmente, se ha realizado un método para la Detección de Movimiento de Cámara usando giróscopos para las UGVs capturadas desde smartphones y se ha diseñado un método de puntuación de calidad basada en el giro. El método de detección de movimiento de la cámara con una base de datos de 24 UGVs multi-modales y se ha comparado con los métodos actuales basados en visión y sistemas inerciales. A través del diseño de puntuación para cuantificar con el giróscopo cuán bien funcionan los sistemas de UGVs con multi-cámara, se ha desarrollado un sistema de composición de video basada en el movimiento del giroscopio. Este sistema basado en la puntuación a través del giróscopo sustituye a los sistemas de puntuaciones basados en parámetros espacio-temporales reduciendo la complejidad computacional. Además, se ha contribuido con un conjunto de datos de 3 eventos (12 UGVs), que se han empleado para validar los sistemas de composición de video basados en giróscopo.Postprint (published version

Collaborative video editing

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

Understanding and designing for control in camera operation

Kameraleute nutzen traditionell gezielt Hilfsmittel um kontrollierte Kamerabewegungen zu ermöglichen. Der technische Fortschritt hat hierbei unlängst zum Entstehen neuer Werkzeugen wie Gimbals, Drohnen oder Robotern beigetragen. Dabei wurden durch eine Kombination von Motorisierung, Computer-Vision und Machine-Learning auch neue Interaktionstechniken eingeführt. Neben dem etablierten achsenbasierten Stil wurde nun auch ein inhaltsbasierter Interaktionsstil ermöglicht. Einerseits vereinfachte dieser die Arbeit, andererseits aber folgten dieser (Teil-)Automatisierung auch unerwünschte Nebeneffekte. Grundsätzlich wollen sich Kameraleute während der Kamerabewegung kontinuierlich in Kontrolle und am Ende als Autoren der Aufnahmen fühlen. Während Automatisierung hierbei Experten unterstützen und Anfänger befähigen kann, führt sie unweigerlich auch zu einem gewissen Verlust an gewünschter Kontrolle. Wenn wir Kamerabewegung mit neuen Werkzeugen unterstützen wollen, stellt sich uns daher die Frage: Wie sollten wir diese Werkzeuge gestalten damit sie, trotz fortschreitender Automatisierung ein Gefühl von Kontrolle vermitteln? In der Vergangenheit wurde Kamerakontrolle bereits eingehend erforscht, allerdings vermehrt im virtuellen Raum. Die Anwendung inhaltsbasierter Kontrolle im physikalischen Raum trifft jedoch auf weniger erforschte domänenspezifische Herausforderungen welche gleichzeitig auch neue Gestaltungsmöglichkeiten eröffnen. Um dabei auf Nutzerbedürfnisse einzugehen, müssen sich Schnittstellen zum Beispiel an diese Einschränkungen anpassen können und ein Zusammenspiel mit bestehenden Praktiken erlauben. Bisherige Forschung fokussierte sich oftmals auf ein technisches Verständnis von Kamerafahrten, was sich auch in der Schnittstellengestaltung niederschlug. Im Gegensatz dazu trägt diese Arbeit zu einem besseren Verständnis der Motive und Praktiken von Kameraleuten bei und bildet eine Grundlage zur Forschung und Gestaltung von Nutzerschnittstellen. Diese Arbeit präsentiert dazu konkret drei Beiträge: Zuerst beschreiben wir ethnographische Studien über Experten und deren Praktiken. Sie zeigen vor allem die Herausforderungen von Automatisierung bei Kreativaufgaben auf (Assistenz vs. Kontrollgefühl). Zweitens, stellen wir ein Prototyping-Toolkit vor, dass für den Einsatz im Feld geeignet ist. Das Toolkit stellt Software für eine Replikation quelloffen bereit und erleichtert somit die Exploration von Designprototypen. Um Fragen zu deren Gestaltung besser beantworten zu können, stellen wir ebenfalls ein Evaluations-Framework vor, das vor allem Kontrollqualität und -gefühl bestimmt. Darin erweitern wir etablierte Ansätze um eine neurowissenschaftliche Methodik, um Daten explizit wie implizit erheben zu können. Drittens, präsentieren wir Designs und deren Evaluation aufbauend auf unserem Toolkit und Framework. Die Alternativen untersuchen Kontrolle bei verschiedenen Automatisierungsgraden und inhaltsbasierten Interaktionen. Auftretende Verdeckung durch graphische Elemente, wurde dabei durch visuelle Reduzierung und Mid-Air Gesten kompensiert. Unsere Studien implizieren hohe Grade an Kontrollqualität und -gefühl bei unseren Ansätzen, die zudem kreatives Arbeiten und bestehende Praktiken unterstützen.Cinematographers often use supportive tools to craft desired camera moves. Recent technological advances added new tools to the palette such as gimbals, drones or robots. The combination of motor-driven actuation, computer vision and machine learning in such systems also rendered new interaction techniques possible. In particular, a content-based interaction style was introduced in addition to the established axis-based style. On the one hand, content-based cocreation between humans and automated systems made it easier to reach high level goals. On the other hand however, the increased use of automation also introduced negative side effects. Creatives usually want to feel in control during executing the camera motion and in the end as the authors of the recorded shots. While automation can assist experts or enable novices, it unfortunately also takes away desired control from operators. Thus, if we want to support cinematographers with new tools and interaction techniques the following question arises: How should we design interfaces for camera motion control that, despite being increasingly automated, provide cinematographers with an experience of control? Camera control has been studied for decades, especially in virtual environments. Applying content-based interaction to physical environments opens up new design opportunities but also faces, less researched, domain-specific challenges. To suit the needs of cinematographers, designs need to be crafted with care. In particular, they must adapt to constraints of recordings on location. This makes an interplay with established practices essential. Previous work has mainly focused on a technology-centered understanding of camera travel which consequently influenced the design of camera control systems. In contrast, this thesis, contributes to the understanding of the motives of cinematographers, how they operate on set and provides a user-centered foundation informing cinematography specific research and design. The contribution of this thesis is threefold: First, we present ethnographic studies on expert users and their shooting practices on location. These studies highlight the challenges of introducing automation to a creative task (assistance vs feeling in control). Second, we report on a domain specific prototyping toolkit for in-situ deployment. The toolkit provides open source software for low cost replication enabling the exploration of design alternatives. To better inform design decisions, we further introduce an evaluation framework for estimating the resulting quality and sense of control. By extending established methodologies with a recent neuroscientific technique, it provides data on explicit as well as implicit levels and is designed to be applicable to other domains of HCI. Third, we present evaluations of designs based on our toolkit and framework. We explored a dynamic interplay of manual control with various degrees of automation. Further, we examined different content-based interaction styles. Here, occlusion due to graphical elements was found and addressed by exploring visual reduction strategies and mid-air gestures. Our studies demonstrate that high degrees of quality and sense of control are achievable with our tools that also support creativity and established practices

Understanding and designing for control in camera operation

Kameraleute nutzen traditionell gezielt Hilfsmittel um kontrollierte Kamerabewegungen zu ermöglichen. Der technische Fortschritt hat hierbei unlängst zum Entstehen neuer Werkzeugen wie Gimbals, Drohnen oder Robotern beigetragen. Dabei wurden durch eine Kombination von Motorisierung, Computer-Vision und Machine-Learning auch neue Interaktionstechniken eingeführt. Neben dem etablierten achsenbasierten Stil wurde nun auch ein inhaltsbasierter Interaktionsstil ermöglicht. Einerseits vereinfachte dieser die Arbeit, andererseits aber folgten dieser (Teil-)Automatisierung auch unerwünschte Nebeneffekte. Grundsätzlich wollen sich Kameraleute während der Kamerabewegung kontinuierlich in Kontrolle und am Ende als Autoren der Aufnahmen fühlen. Während Automatisierung hierbei Experten unterstützen und Anfänger befähigen kann, führt sie unweigerlich auch zu einem gewissen Verlust an gewünschter Kontrolle. Wenn wir Kamerabewegung mit neuen Werkzeugen unterstützen wollen, stellt sich uns daher die Frage: Wie sollten wir diese Werkzeuge gestalten damit sie, trotz fortschreitender Automatisierung ein Gefühl von Kontrolle vermitteln? In der Vergangenheit wurde Kamerakontrolle bereits eingehend erforscht, allerdings vermehrt im virtuellen Raum. Die Anwendung inhaltsbasierter Kontrolle im physikalischen Raum trifft jedoch auf weniger erforschte domänenspezifische Herausforderungen welche gleichzeitig auch neue Gestaltungsmöglichkeiten eröffnen. Um dabei auf Nutzerbedürfnisse einzugehen, müssen sich Schnittstellen zum Beispiel an diese Einschränkungen anpassen können und ein Zusammenspiel mit bestehenden Praktiken erlauben. Bisherige Forschung fokussierte sich oftmals auf ein technisches Verständnis von Kamerafahrten, was sich auch in der Schnittstellengestaltung niederschlug. Im Gegensatz dazu trägt diese Arbeit zu einem besseren Verständnis der Motive und Praktiken von Kameraleuten bei und bildet eine Grundlage zur Forschung und Gestaltung von Nutzerschnittstellen. Diese Arbeit präsentiert dazu konkret drei Beiträge: Zuerst beschreiben wir ethnographische Studien über Experten und deren Praktiken. Sie zeigen vor allem die Herausforderungen von Automatisierung bei Kreativaufgaben auf (Assistenz vs. Kontrollgefühl). Zweitens, stellen wir ein Prototyping-Toolkit vor, dass für den Einsatz im Feld geeignet ist. Das Toolkit stellt Software für eine Replikation quelloffen bereit und erleichtert somit die Exploration von Designprototypen. Um Fragen zu deren Gestaltung besser beantworten zu können, stellen wir ebenfalls ein Evaluations-Framework vor, das vor allem Kontrollqualität und -gefühl bestimmt. Darin erweitern wir etablierte Ansätze um eine neurowissenschaftliche Methodik, um Daten explizit wie implizit erheben zu können. Drittens, präsentieren wir Designs und deren Evaluation aufbauend auf unserem Toolkit und Framework. Die Alternativen untersuchen Kontrolle bei verschiedenen Automatisierungsgraden und inhaltsbasierten Interaktionen. Auftretende Verdeckung durch graphische Elemente, wurde dabei durch visuelle Reduzierung und Mid-Air Gesten kompensiert. Unsere Studien implizieren hohe Grade an Kontrollqualität und -gefühl bei unseren Ansätzen, die zudem kreatives Arbeiten und bestehende Praktiken unterstützen.Cinematographers often use supportive tools to craft desired camera moves. Recent technological advances added new tools to the palette such as gimbals, drones or robots. The combination of motor-driven actuation, computer vision and machine learning in such systems also rendered new interaction techniques possible. In particular, a content-based interaction style was introduced in addition to the established axis-based style. On the one hand, content-based cocreation between humans and automated systems made it easier to reach high level goals. On the other hand however, the increased use of automation also introduced negative side effects. Creatives usually want to feel in control during executing the camera motion and in the end as the authors of the recorded shots. While automation can assist experts or enable novices, it unfortunately also takes away desired control from operators. Thus, if we want to support cinematographers with new tools and interaction techniques the following question arises: How should we design interfaces for camera motion control that, despite being increasingly automated, provide cinematographers with an experience of control? Camera control has been studied for decades, especially in virtual environments. Applying content-based interaction to physical environments opens up new design opportunities but also faces, less researched, domain-specific challenges. To suit the needs of cinematographers, designs need to be crafted with care. In particular, they must adapt to constraints of recordings on location. This makes an interplay with established practices essential. Previous work has mainly focused on a technology-centered understanding of camera travel which consequently influenced the design of camera control systems. In contrast, this thesis, contributes to the understanding of the motives of cinematographers, how they operate on set and provides a user-centered foundation informing cinematography specific research and design. The contribution of this thesis is threefold: First, we present ethnographic studies on expert users and their shooting practices on location. These studies highlight the challenges of introducing automation to a creative task (assistance vs feeling in control). Second, we report on a domain specific prototyping toolkit for in-situ deployment. The toolkit provides open source software for low cost replication enabling the exploration of design alternatives. To better inform design decisions, we further introduce an evaluation framework for estimating the resulting quality and sense of control. By extending established methodologies with a recent neuroscientific technique, it provides data on explicit as well as implicit levels and is designed to be applicable to other domains of HCI. Third, we present evaluations of designs based on our toolkit and framework. We explored a dynamic interplay of manual control with various degrees of automation. Further, we examined different content-based interaction styles. Here, occlusion due to graphical elements was found and addressed by exploring visual reduction strategies and mid-air gestures. Our studies demonstrate that high degrees of quality and sense of control are achievable with our tools that also support creativity and established practices

Hollywood location shooting in San Francisco and the aesthetics of urban decline, 1945-1975

This dissertation traces the impact of Hollywood’s widening practice of location shooting on the representation of San Francisco between 1945 and 1975. Over these three decades, location shooting evolved from an ancillary practice to the dominant method of Hollywood feature filmmaking and throughout this period, San Francisco remained a key urban location on the forefront of this shift in production practice. For location shooting to expand so extensively required a combination of economic, technological, logistical, and aesthetic developments that made shooting in San Francisco a viable strategy in comparison to the established method of shooting primarily on the sound stages and back lots of Los Angeles studios. New location production techniques intersected with a fundamental postwar shift in America’s image of its cities. Despite San Francisco’s marked stability compared to other U.S. urban centers, Hollywood depictions of the city grew bleaker as the urban crisis degraded the image of the city in American popular thought. This dissertation relies on archival research into the production history of several American feature films and television series shot partially or entirely in San Francisco, drawn from The Margaret Herrick Library, University of Southern California’s Warner Brothers Archives, University of California-Los Angeles Special Collections, and the San Francisco History Center of The San Francisco Public Library. Additional research in Variety and American Cinematographer provides a larger context for changes in Hollywood filmmaking practices as well as the production, critical reception, and box office success of specific features. Each chapter examines how major shifts in Hollywood production methods shaped urban location shooting, particularly in San Francisco. The chapters conclude with case studies of films shot in San Francisco that reveal how specific location production methods approached the challenges and aesthetic choices encountered in San Francisco. These film and television texts construct an urban paradigm indicative of both filmmaking practices and cultural perceptions of the city.Radio-Television-Fil