du.sePublications
Change search
Refine search result
1 - 14 of 14
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • chicago-author-date
  • chicago-note-bibliography
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 1.
    Chirumalla, Koteshwar
    et al.
    Malardalen University.
    Eriksson, Yvonne
    Malardalen University.
    Eriksson, Per Erik
    Dalarna University, School of Humanities and Media Studies, Moving Image Production. Malardalen University.
    The influence of different media instructions on solving a procedural task2015In: ICED 15, Vol. 11: Human Behaviour in Design, Design Education, 2015Conference paper (Refereed)
    Abstract [en]

    This study investigates the influence of different forms of media instructions on the process and outcomes of completing a specific procedural task. The experiment was conducted with four student groups having an education in the area of Information Design. In the experiment four media instructions - text only, text plus drawings, a series of pictures and video with narration - were considered. The findings show that the type of media has an influence on the ability to solve a procedural task and on group interaction and the way groups solve a task. Compared with the other instructions, video instruction triggered a different interaction and behavioural pattern during assembly. Participants considered both video and picture instructions as more usable in terms of facilitating the ability to understand, select and apply possible solutions to a given task. However, the video medium showed little influence on dialogue in the group during assembly. The instructions, such as text plus drawings, pictures and video had a similar influence on task performance times, whereas text instructions took three times longer to implement than other instructions.

  • 2.
    Eriksson, Per Erik
    Dalarna University, School of Humanities and Media Studies, Moving Image Production. Mälardalens högskola, Inbyggda system.
    Videography as Design Nexus: Critical Inquires into the Affordances and Efficacies of Live-action Video Instructions2018Doctoral thesis, comprehensive summary (Other academic)
    Abstract [en]

    This thesis is about live-action instructional videos (LAVs). By addressing design problems with respect to the how-to video genre, the thesis asks fundamental questions about mediated instructional communication efficacies and the factors that either obstruct or augment them. 

    The analysis presented in this thesis is based on the notion that videography is a design nexus and key focal point of the connections that make live-action video instructional efforts possible. This Design Nexus is explored by defining and illuminating key ontological dimensions, medium specificities and the video users’ cognitive capacities. This is to acknowledge that the users of instructions in this thesis are center stage, both as biological and cultural beings.

    The methods used in this thesis and its associated papers are eye-tracking, video observations, questionnaires, self-reports, focus group interviews and YouTube analytics. Hence, both numerical data and non-numerical data are analyzed in this study.

    The results of the analyses indicate that pre-production planning is key in live-action video instructional endeavors, but not at the expense of the videographer’s status as designer. Moreover, the analyses show that users’ cognitive processing and visual decoding depend on the power of the live-action format to show actual human behavior and action. Other presented evidence seems to infer that LAV-instructions are a little less demanding if users apply a focused decoding style when interacting with them. Nevertheless, physiological engagement of this kind is likely not to fully compensate for users’ psychological engagement.

    This thesis contributes to a more comprehensive understanding of humans’ abilities to interpret the actions of others via medial means. By relating this to video medium-specific affordances, this thesis also furthers important efficacy distinctions and boundary conditions. This understanding is considered important for live-action video makers and designers of visual instructions as well as scholars who need to develop better methods to assess users’ behavioral engagement when they interact with digital instructional media.

  • 3.
    Eriksson, Per Erik
    Dalarna University, School of Languages and Media Studies, Moving Image Production. Mälardalens högskola, Akademin för innovation, design och teknik).
    Videography as production nexus: digital film cameras, media mangement and the distribution of creativity2013Licentiate thesis, comprehensive summary (Other academic)
    Abstract [en]

    This thesis is about new digital moving image recording technologies and how they augment the distribution of creativity and the flexibility in moving image production systems, but also impose constraints on how images flow through the production system. The central concept developed in this thesis is ‘creative space’ which links quality and efficiency in moving image production to time for creative work, capacity of digital tools, user skills and the constitution of digital moving image material. The empirical evidence of this thesis is primarily based on semi-structured interviews conducted with Swedish film and TV production representatives.This thesis highlights the importance of pre-production technical planning and proposes a design management support tool (MI-FLOW) as a way to leverage functional workflows that is a prerequisite for efficient and cost effective moving image production.

  • 4.
    Eriksson, Per Erik
    et al.
    Dalarna University, School of Humanities and Media Studies, Moving Image Production.
    Eriksson, Yvonne
    Syncretistic images: iPhone fiction filmmaking and its cognitive ramifications2015In: Digital Creativity, ISSN 1462-6268, E-ISSN 1744-3806, Vol. 26, no 2, p. 138-153Article in journal (Refereed)
    Abstract [en]

    This article will address the question of how fiction films are individuated in terms of image quality on the grounds of the recording technology used. As new cost-effective digital recording technologies are introduced to the marketplace, this becomes a salient issue to understand for producers and production teams. In order to define cameras' image quality capacities, three almost identical short fiction film sequences were tested on a young audience in a comparative blind test. Surprisingly, the result unambiguously showed that most viewers preferred the film recorded on an iPhone. Based on Barbara Maria Stafford's theoretical framework on the cognitive work of images and theories that concern ecological moving image theory, the analysis of this article aims to explain the reception study's result by illuminating the sublime and ambiguous figure-ground constellation of the iPhone video and its cognitive ramifications.

  • 5.
    Eriksson, Per Erik
    et al.
    Dalarna University, School of Humanities and Media Studies, Moving Image Production. Mälardalen University.
    Eriksson, Yvonne
    Mälardalen University.
    Swenberg, Thorbjörn
    Dalarna University, School of Humanities and Media Studies, Moving Image Production. Mälardalen University.
    Johansson, Peter
    Mälardalen University.
    Media instructions and visual behavior: An eye-tracking study investigating visual literacy capacities and assembly efficiency2014In: Analyzing Cognitive Processes during Design: Proceedings of the HBiD 2014 / [ed] Mirko Meboldt, Sven Matthiesen, Petra Badke-Schaub, Quentin Lohmeyer, 2014Conference paper (Refereed)
    Abstract [en]

    This pilot study aims at illuminating human visual behavior in the interaction with pictorial instructions. The study is a multi disciplinary effort and is informed by the connection between gaze and attention as well as certain aspects of the Visual Literacy field and reveals a few basic visual behavior tendencies related to certain specific pictorial instruction types. By doing so, it is also an evaluation of the usefulness of a methodological framework consisting of six measures.The analysis of this paper is primarily based on eye-tracking data. In addition, an observed assembly that generated video and sound recordings is also part of the method. In the study 12 Film/TV- production students (out of which there is complete data from 9 informants) interacted with three types of types of visual instructions of the same assembled object, a solar powered toy.

  • 6.
    Eriksson, Per Erik
    et al.
    Dalarna University, School of Humanities and Media Studies, Moving Image Production.
    Swenberg, Thorbjörn
    Dalarna University, School of Humanities and Media Studies, Moving Image Production.
    Zhao, Xiaoyun
    Dalarna University, School of Technology and Business Studies, Microdata Analysis.
    Eriksson, Yvonne
    Mälardalens Högskola / IPR.
    How gaze time on screen impacts the efficacy of visual instructions2018In: Heliyon, ISSN 2405-8440, Vol. 4, no 6, article id e00660Article in journal (Refereed)
    Abstract [en]

    This article explores whether GTS (gaze time on screen) can be useful as an engagement measure in the screen mediated learning context. Research that exemplifies ways of measuring engagement in the on-line education context usually does not address engagement metrics and engagement evaluation methods that are unique to the diverse contemporary instructional media landscape. Nevertheless, unambiguous construct definitions of engagement and standardized engagement evaluation methods are needed to leverage instructional media's efficacy. By analyzing the results from a mixed methods eye-tracking study of fifty-seven participants evaluating their visual and assembly performance levels in relation to three visual, procedural instructions that are versions of the same procedural instruction, we found that the mean GTS-values in each group were rather similar. However, the original GTS-values outputted from the ET-computer were not entirely correct and needed to be manually checked and cross validated. Thus, GTS appears not to be a reliable, universally applicable automatic engagement measure in screen-based instructional efforts. Still, we could establish that the overall performance of learners was somewhat negatively impacted by lower than mean GTS-scores, when checking the performance levels of the entire group (N = 57). When checking the stimuli groups individually (N = 17, 20, 20), the structural diagram group's assembly time durations were positively influenced by higher than mean GTS-scores.

  • 7.
    Eriksson, Per-Erik
    Dalarna University, School of Humanities and Media Studies, Moving Image Production.
    Convergence cameras and the new documentary image2012In: Digital Creativity, ISSN 1462-6268, E-ISSN 1744-3806, Vol. 23, no 3-4, p. 291-306Article in journal (Refereed)
    Abstract [en]

    New digital recording technologies pose new creative dilemmas for documentary videographers. The new type high-resolution video camera with 35 mm sized sensors and mounts for real film lenses generate a type of imagery that does not look typically ’observational’. By testing this imagery’s capacity as the guarantor of documentary authenticity and interrelating this with visualisation theories, this paper aims to explain the ontology of the new digital documentary image, its lure for the documentary filmmaker and its ramifications on reception in order to leverage technological production awareness of the documentary videographer and production members. The empirical data presented in this article is based on an explorative reception study in which five different types of moving image sequences were tested on an audience in order to be able to define the level of indexical appeal in shallow depth of field, high resolution, High Production Value, documentary moving images. © 2012 Copyright Taylor and Francis Group, LLC.

  • 8.
    Eriksson, Per-Erik
    et al.
    Dalarna University, School of Languages and Media Studies, Moving Image Production. Mälardalens högskola, Akademin för innovation, design och teknik.
    Eriksson, Yvonne
    Mälardalens högskola, Akademin för innovation, design och teknik.
    Swenberg, Thorbjörn
    Dalarna University, School of Languages and Media Studies, Moving Image Production. Mälardalens högskola, Akademin för innovation, design och teknik.
    Sverrisson, Arni
    Dalarna University, School of Languages and Media Studies, Moving Image Production.
    New design process models for the audio visual industry: a design science approach2010In: DS 60: Proceedings of DESIGN 2010, the 11th International Design Conference, Dubrovnik, Croatia: Modelling and Optimization of Engineering Design Processes / [ed] Marjanovic D., Storga M., Pavkovic N., Bojcetic N., Dubrovnik: FSB-The Design Society , 2010, p. 223-232Conference paper (Refereed)
    Abstract [en]

    Industrial design processes have several common denominators regardless of the actual design. This is to say that the production of moving images is a kind of design process. Even though every single film- or TV-production is unique, the production processes as such are often similar. Therefore we suggest that a Distributed Creativity Workflow Model will be useful in film- and TV-production. This model will facilitate the design process and make the production of contemporary audio-visual material more cost effective. Hopefully more time can be spent on creativity within the process.

  • 9.
    Swenberg, Thorbjörn
    et al.
    Dalarna University, School of Humanities and Media Studies, Moving Image Production.
    Eriksson, Per Erik
    Dalarna University, School of Humanities and Media Studies, Moving Image Production.
    Audiovisuella designprocesser och digitala verktyg2014In: Audiovisuellt: Ljud och Bild: En artikelsamling med bidrag från projektet Audiovisuella medier / [ed] Árni Sverrisson, Falun: Högskolan Dalarna, 2014Chapter in book (Other academic)
  • 10.
    Swenberg, Thorbjörn
    et al.
    Dalarna University, School of Languages and Media Studies, Moving Image Production.
    Eriksson, Per Erik
    Dalarna University, School of Languages and Media Studies, Moving Image Production.
    Creative Space in Contemporary Swedish Moving Image Production2012In: Journal of Integrated Design & Process Science, ISSN 1092-0617, E-ISSN 1875-8959, Vol. 16, no 4, p. 55-72Article in journal (Refereed)
    Abstract [en]

    Production of moving images is turning completely digital. This leads to new possibilities and new constraints for creativity within film and TV production chains.

    This paper describes professionals’ current comprehension of the consequences of the shift from celluloid to digital technologies, within the Swedish Moving Image Industry. New technologies bring new workflows, new design processes and new constraints.

    We aim to illuminate factors that affect design creativity in digital moving image production, by addressing questions about production related responses to the digital turn as well as the affects of such responses on creativity.

    Inspired by Ingar Brinck’s creativity theories (1999, 2007) we view aesthetic problem solving as a cognitive process and suggest creative spaces to be the critical phenomenon to manage. We also use organization theories, particularly the work of Katherine Miller (2011) to explain why creativity ought to be a primary management concern.

    The empirical material used is semi-structured interviews with management personnel in Swedish moving image production companies. Outcomes include that the variety of digital formats available today is hard for crafts people to overview. This has brought costly workflow constraints that largely limit creativity.

    We suggest a pre-production file format check-list as a tool to support design management.

  • 11.
    Swenberg, Thorbjörn
    et al.
    Dalarna University, School of Humanities and Media Studies, Moving Image Production.
    Eriksson, Per Erik
    Dalarna University, School of Humanities and Media Studies, Moving Image Production.
    Effects of continuity or discontinuity in actual film editing2018In: Empirical Studies of the Arts, ISSN 0276-2374, E-ISSN 1541-4493, Vol. 36, no 2, p. 222-246Article in journal (Refereed)
    Abstract [en]

    A film editor’s refining of film edits at a frame-by-frame matching is an effort of perceptual precision. This paper investigates whether a failure of a few frames would jeopardize the perceived continuity of the film. 33 Swedish students, 17 female, average age 26, were eye tracked while watching two versions of the same documentary film sequence, where one version was completed to satisfaction by a film editor, and the other version had its edits altered 4-6 frames against the film editor’s intentions.

    The analysis scrutinized gaze hits in Areas-of-Interest (AoI:s) appointed by the film editor, as well as saccade frequency and pupil dilation after edit points. No significant difference was found for gaze hits in AoI:s, whereas saccade frequency increased 120-400 ms after edit points by  29.4%, and pupil sizes increased by 28% relative size, 200-500 ms after edits, both in the altered version of the film sequence.

    These results indicates that the altered film sequence constrained viewers, with possible cognitive effects, which implies that the frame-by-frame matching of film edits achieved by film editors is crucial to film continuity.

  • 12.
    Swenberg, Thorbjörn
    et al.
    Dalarna University, School of Humanities and Media Studies, Moving Image Production. Mälardalen University.
    Eriksson, Per Erik
    Dalarna University, School of Humanities and Media Studies, Moving Image Production. Mälardalen University.
    Film and TV Industry Responses to Research Results in a Workshop Setting2015In: IASDR2015 Interplay Proccedings / [ed] Vesna Popovic, Alethea Blacker, Ding-Bang Luh, Nithikul Nimkulrat, Ben Kraal, and Yukari Nagai, IASDR , 2015, p. 1917-1931Conference paper (Refereed)
    Abstract [en]

    Immediate return of results to the Swedish film and TV industry from researchers conducting ongoing research within the field is rather unusual. As a design research approach we, as researchers, adopted this method in order to disseminate results and confront a wider group of interest parties than those represented by our informants.

    The results from the research project, New Design Processes in the Audiovisual Industry, revealed that the transition from recording on celluloid with analogue film cameras to using high definition video cameras presented new cruxes for the film and TV industries (Eriksson & Swenberg, 2012). These cruxes preliminary concerned the choice of proper video codecs and file formats and how to configure them, in order to reinforce efficient workflow later in the production chain.

    Members of the industry and educators were invited to participate in public workshops, held at Dalarna University, where these results were presented along with expert solutions to the problems. Questionnaires were distributed among participants before the start of each workshop, as well as at the end. Seminars and panel discussions, both consisting of question and answer sessions for participants were video-recorded.

    The responses extrapolated from industrial representatives show an urgent need for discussion regarding the situation of digital cruxes within the film and TV industry. The Q & A sessions confirmed the widespread need for understanding several of the problems that had emerged. In the questionnaires, many industrial representatives expressed their appreciation for the opportunity to understand the nature of problems, how widespread they were, how to address them, and how to fill some of the most critical prevalent knowledge gaps.

  • 13.
    Swenberg, Thorbjörn
    et al.
    Mälardalens Högskola.
    Eriksson, Per Erik
    Mälardalens Högskola.
    Eriksson, Yvonne
    Mälardalens Högskola / IPR Design och Visualisering / ID.
    Design Management Support for the Audiovisual Industry2013Manuscript (preprint) (Other academic)
  • 14.
    Swenberg, Thorbjörn
    et al.
    Dalarna University, School of Humanities and Media Studies, Moving Image Production.
    Eriksson, Per Erik
    Dalarna University, School of Humanities and Media Studies, Moving Image Production.
    Eriksson, Yvonne
    Mälardalens Högskola / IPR.
    Workflow management: design management support in professional audiovisual production2012In: SDPS-2012: PROCEEDINGS OF The Fifteenth International Conference on Technology of Complex Systems / [ed] Dr. Sang Suh, Dr. Wolfgang Reisig, Texas, 2012, Vol. 1, p. 144-151Conference paper (Refereed)
    Abstract [en]

    This paper deals with the need for design management support within the Audiovisual Industry, due to the increasing variety of video file formats and codecs available to professionals. The amount of video file formats and codecs are referred to as ‘the file format jungle’ by moving image professionals, and needs to be navigated by managerial staff that are not electronic engineers or technicians, but responsible for audio-visual design work within film and TV production.

    We have evaluated a prototype for a design management support tool that compares file formats and codecs for different production tools, with the help of Swedish moving image industry producers. The core principals of the support tool prototype are found to cohere with the needs for design management support within film and TV production, and the tool is therefore an option for commercial development.

1 - 14 of 14
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • chicago-author-date
  • chicago-note-bibliography
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf