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Swenberg, ThorbjörnORCID iD iconorcid.org/0000-0003-2006-4522
Publications (10 of 13) Show all publications
Swenberg, T. & Eriksson, Y. (2018). Film and Television Production as Audiovisual Design. International Journal of Visual Design (1), 39-51
Open this publication in new window or tab >>Film and Television Production as Audiovisual Design
2018 (English)In: International Journal of Visual Design, ISSN 2325-1581, no 1, p. 39-51Article in journal (Refereed) Published
Abstract [en]

Industrial film and television production (FTP) includes many elements of creative work on sounds and images that are best addressed as audiovisual design. Two paradigmatic understandings of design, “design-as-problem-solving” and “design-as-meaning-creation”, have a bearing on these elements. The issues dealt with during FTP work processes, as well as the problems to be solved and the characteristics of the work processes used, resemble issues, problems, and process characteristics within design work. From the perspective of audiovisual communication, both the design and production aspects of a process are considered to make an important impact on a message. In FTP, these aspects are blurred. This paper discusses the benefits of approaching FTP as creation of audiovisual communication, in which design is an integrated part of that process. The benefits of considering FTP as audiovisual design are proposed from a design research perspective.

Place, publisher, year, edition, pages
Common Ground Publishing, 2018
National Category
Studies on Film Design Media Studies
Research subject
Innovation and Design
Identifiers
urn:nbn:se:mdh:diva-35638 (URN)10.18848/2325-1581/CGP/v12i01/39-51 (DOI)
Available from: 2017-06-09 Created: 2017-06-09 Last updated: 2020-01-29Bibliographically approved
Swenberg, T. (2016). Editorial intentions and viewer perceptions: An audiovisual methodology for studying film editing and eye movements. Visual Methodologies, 4(2), 13-33
Open this publication in new window or tab >>Editorial intentions and viewer perceptions: An audiovisual methodology for studying film editing and eye movements
2016 (English)In: Visual Methodologies, ISSN 2040-5456, Vol. 4, no 2, p. 13-33Article in journal (Refereed) Published
Abstract [en]

This article presents an audio-visual methodology, VOSMET, designed to address activities of the craft of film editing, with a focus on the use of perception, and its implications. The methodology employs 13 different visual aspects and five different audio aspects, starting with video-recording observations of an editor, and ending with the analysis of eye-tracking data from film viewers. Craft research needs methodologies that address craft activities and cognitive approaches. Design practices share a similar need for reaching deeper understanding. It is neither established how film editors achieve perceptual precision in continuity editing in practice. The VOSMET methodology simultaneously captures bodily actions, utterances, software events, and keystrokes, along with the audiovisual material under processing, and uses graphics to distinguish between what takes place. The methodology also contributes by grasping what a film editor attends to, how this attention functions, as well as how perceptual factors are handled by the film editor. Finally, the methodology can evaluate editorial intentions against film viewer perceptions.

Keywords
documentary film editing; screen-recording video; video-graphic coding; eye tracking; perceptual precision, dokumentärfilmklippning, skärmdumpsvideo, video-grafisk kodning, ögonrörelsestudier, perceptuell precision
National Category
Design Other Humanities not elsewhere specified Social Sciences Interdisciplinary
Research subject
Innovation and Design
Identifiers
urn:nbn:se:mdh:diva-35644 (URN)
Available from: 2017-06-09 Created: 2017-06-09 Last updated: 2020-01-29Bibliographically approved
Swenberg, T. (2015). Editorial intentions and viewer perceptions: Audiovisual methods for studying film editing and eye movements. In: : . Paper presented at 4th International Visual Methods Conference, Brighton,16 - 18 September 2015.
Open this publication in new window or tab >>Editorial intentions and viewer perceptions: Audiovisual methods for studying film editing and eye movements
2015 (English)Conference paper, Oral presentation with published abstract (Other academic)
Abstract [en]

This presentation describes the methods used in a research project on continuity film editing and its effects on viewer perception.  Film editing is considered a form of audiovisual design work in which visual perception plays a significant role. The study analyzes audiovisual design work in terms of nine different visual aspects and four different audio aspects. The audio aspects are the making of a soundtrack to a documentary film sequence, recordings of conversations during observations, and the viewing of the film sequence, as well as an analysis of those recordings. The visual aspects include the editing of the documentary film sequence, recordings of the editor at work (together with an observing researcher) generating video images of the work, and a continuous screen-recording including computer keystrokes. An altered second version of the film in which the edits were altered was created, and both versions were used as stimuli in an eye tracking study with 30 participants. Finally, eye-tracking data was analyzed in terms of eye-movements, and areas of interest, in order to determine the importance of perceptual precision. When perceptual precision is poor, the viewer’s eyes make extra movements to adjust or miss the area of interest, or the viewer’s cognitive load increases. Examples are given in the presentation, and it is suggested that these methods make it possible to identify key audiovisual factors that a film editor considers, which constitute viewer-friendly and viewer-challenging (i.e. ’smooth’ and ‘harsh’) moving image editing. This knowledge has not been documented experimentally before, and understanding how perceptual precision determines viewer-friendly or viewer-challenging film editing is a key factor in helping inexperienced film editors learn how to achieve their audiovisual intentions. It also contributes to the academic understanding of perceptual considerations in design work.

Keywords
documentary film editing, screen-recording video, video-graphic coding, eye tracking, perceptual precision
National Category
Studies on Film Design
Research subject
Innovation and Design
Identifiers
urn:nbn:se:mdh:diva-35653 (URN)
Conference
4th International Visual Methods Conference, Brighton,16 - 18 September 2015
Available from: 2017-06-09 Created: 2017-06-09 Last updated: 2020-01-29Bibliographically approved
Swenberg, T. & Eriksson, P. E. (2015). Film and TV Industry Responses to Research Results in a Workshop Setting. In: Vesna Popovic, Alethea Blacker, Ding-Bang Luh, Nithikul Nimkulrat, Ben Kraal, and Yukari Nagai (Ed.), IASDR2015 Interplay Proccedings: . Paper presented at INTERPLAY between design, science, technology and the arts at the IASDR 2015 Congress in Brisbane, Australia, 2 – 5 November 2015 (pp. 1917-1931).
Open this publication in new window or tab >>Film and TV Industry Responses to Research Results in a Workshop Setting
2015 (English)In: IASDR2015 Interplay Proccedings / [ed] Vesna Popovic, Alethea Blacker, Ding-Bang Luh, Nithikul Nimkulrat, Ben Kraal, and Yukari Nagai, 2015, p. 1917-1931Conference paper, Published 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.

Keywords
co-creation, digital media, TV/Film industry, film production
National Category
Media Engineering Design Studies on Film
Research subject
Innovation and Design
Identifiers
urn:nbn:se:mdh:diva-35654 (URN)978-0-646-94318-3 (ISBN)
Conference
INTERPLAY between design, science, technology and the arts at the IASDR 2015 Congress in Brisbane, Australia, 2 – 5 November 2015
Funder
EU, European Research Council
Available from: 2017-06-09 Created: 2017-06-09 Last updated: 2020-01-29Bibliographically approved
Swenberg, T. (2015). Kvalitetsbedömning inom högre medieproduktionsutbildning. In: : . Paper presented at Nätverkskonferens för Medieproduktion, Falun, 14-15 maj 2015. Falun
Open this publication in new window or tab >>Kvalitetsbedömning inom högre medieproduktionsutbildning
2015 (Swedish)Conference paper, Published paper (Refereed)
Place, publisher, year, edition, pages
Falun: , 2015
National Category
Pedagogy
Identifiers
urn:nbn:se:mdh:diva-35647 (URN)
Conference
Nätverkskonferens för Medieproduktion, Falun, 14-15 maj 2015
Available from: 2017-06-09 Created: 2017-06-09 Last updated: 2020-01-29Bibliographically approved
Swenberg, T. (2013). Media Production or Audiovisual Design?. In: Ali Simsek, Agah Gumus, Fahme Dabaj (Ed.), : . Paper presented at International Conference on Communication, Media, Technology and Design (pp. 128-134).
Open this publication in new window or tab >>Media Production or Audiovisual Design?
2013 (English)In: / [ed] Ali Simsek, Agah Gumus, Fahme Dabaj, 2013, p. 128-134Conference paper, Published paper (Other academic)
Abstract [en]

Media production includes many moments of creative work that would be best addressed as audiovisual design. The two paradigmatic understandings of design, ‘design-as-problem-solving’ (Simon, 1996), and ‘design-as-meaning-creation’ (Krippendorf, 1995), have bearing on those work-moments. The issues dealt with during those media production work-moments, as well as the problems to solve and the characteristics of the work-processes in use, resemble issues, problems and process characteristics familiar within design work (Sato & Poggenpohl, 2009).From a perspective of communication, audiovisual communication preferably is addressed as multimodal (Kress & van Leeuwen, 2001) where both strata, design and production, are considered to make important impact on a message.This paper discusses the theoretical implications of considering media production as audiovisual communication during its process of being created, where design is an integrated part of that process. The benefits of considering media production as audiovisual design are proposed from a design research perspective, and are compared with other perspectives.

National Category
Design Studies on Film Media Engineering
Research subject
Innovation and Design
Identifiers
urn:nbn:se:mdh:diva-22339 (URN)
Conference
International Conference on Communication, Media, Technology and Design
Funder
EU, European Research Council
Available from: 2013-11-01 Created: 2013-11-01 Last updated: 2015-12-22Bibliographically approved
Swenberg, T. & Eriksson, P. E. (2012). Creative Space in Contemporary Swedish Moving Image Production. Journal of Integrated Design & Process Science, 16(4), 55-72
Open this publication in new window or tab >>Creative Space in Contemporary Swedish Moving Image Production
2012 (English)In: Journal of Integrated Design & Process Science, ISSN 1092-0617, E-ISSN 1875-8959, Vol. 16, no 4, p. 55-72Article in journal (Refereed) Published
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.

Keywords
technological Shift, file formats, workflow, creativity, design management
National Category
Design Engineering and Technology
Research subject
Innovation and Design
Identifiers
urn:nbn:se:mdh:diva-14085 (URN)10.3233/jid-2012-0003 (DOI)2-s2.0-84871213299 (Scopus ID)
Projects
New Design Processes in the Audiovisual Industry
Available from: 2012-01-27 Created: 2012-01-27 Last updated: 2017-12-08Bibliographically approved
Swenberg, T. (2012). Postproduction Agents: Audiovisual Design and Contemporary Constraints for Creativity. (Licentiate dissertation). Västerås: Mälardalen University
Open this publication in new window or tab >>Postproduction Agents: Audiovisual Design and Contemporary Constraints for Creativity
2012 (English)Licentiate thesis, comprehensive summary (Other academic)
Abstract [en]

Moving images and sounds are processed creatively after they have been recorded or computer generated. These processes consists of design activities carried out by workers that hold ‘agency’ through the crafts they exercise, because these crafts are defined by the Moving Image Industry and are employed in practically the same way regardless of company.

This thesis explores what material constraints there are for such creativity in contemporary Swedish professional moving image postproduction. The central aspects concern digital material, workflow and design work as distributed activities. These aspects are coupled to production quality and efficiency at the postproduction companies where production takes place.

The central concept developed in this thesis is ‘creative space’ which links quality and efficiency in moving image production to time for creativity, capacity of computer tools, user skills and constitution of digital moving image material. Creative spaces are inhabited by design agents, and might expand or shrink due to material factors. Those changes are coupled to parallel changes in quality and efficiency.

Place, publisher, year, edition, pages
Västerås: Mälardalen University, 2012. p. 58
Series
Mälardalen University Press Licentiate Theses, ISSN 1651-9256 ; 148
Keywords
film production, moving image, audiovisual communication, information design, filmproduktion, rörlig bild, audiovisuell kommunikation, informationsdesign
National Category
Design Media Engineering Media and Communications
Research subject
Innovation and Design
Identifiers
urn:nbn:se:mdh:diva-14083 (URN)978-91-7485-057-4 (ISBN)
Presentation
2012-02-24, TV-studion, Högskolan Dalarnas Mediehus, Kaserngården 15, Falun, 13:00 (Swedish)
Opponent
Supervisors
Projects
Audiovisuella Medier
Available from: 2012-01-27 Created: 2012-01-27 Last updated: 2013-12-03Bibliographically approved
Swenberg, T., Eriksson, P. E. & Yvonne, E. (2012). Workflow Management in Design Processes in Professional Audiovisual Production and Design Management Support. Paper presented at SPDS-2012 The Technology of Complex Systems. Society for Design and Process Science
Open this publication in new window or tab >>Workflow Management in Design Processes in Professional Audiovisual Production and Design Management Support
2012 (English)In: / [ed] Dr. Wolfgang Reisig, Dr. Sang Suh, Society for Design and Process Science , 2012Conference paper, Oral presentation only (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.

Place, publisher, year, edition, pages
Society for Design and Process Science, 2012
Keywords
Creativity, Design Management Support, Audiovisual Design, Film/TV Production
National Category
Design Media Engineering
Research subject
Innovation and Design
Identifiers
urn:nbn:se:mdh:diva-16542 (URN)
Conference
SPDS-2012 The Technology of Complex Systems
Projects
New Design Processes in the Audiovisual Indusrty
Available from: 2012-12-14 Created: 2012-12-14 Last updated: 2017-06-15Bibliographically approved
Eriksson, P., Eriksson, Y., Swenberg, T. & Sverrison, A. (2010). NEW DESIGN PROCESS MODELS FOR THE AUDIO VISUAL INDUSTRY: A DESIGN SCIENCE APPROACH. In: Stal - Le Cardinal Julie (Ed.), Proceedings of the 11th International Design Conference DESIGN 2010: . Paper presented at 11th International Design Conference (DISIGN) Location: Dubrovnik, CROATIA Date: MAY 17-20, 2010 (pp. 223-232). FSB-The Design Society
Open this publication in new window or tab >>NEW DESIGN PROCESS MODELS FOR THE AUDIO VISUAL INDUSTRY: A DESIGN SCIENCE APPROACH
2010 (English)In: Proceedings of the 11th International Design Conference DESIGN 2010 / [ed] Stal - Le Cardinal Julie, FSB-The Design Society , 2010, p. 223-232Conference paper, Published paper (Refereed)
Abstract [en]

This paper describes a project that aims to come up with a suggestion for guide-lines and new work- flow models concerning the demand of tailored content that influence every design process of moving images as well as the distribution of creative decisions within contemporary production organizations in the audio-visual industry. In this context we define creativity as the social and psychological process that enable people to generate new ideas and concepts or to come up with new associations between existing ideas and concepts. From a theoretical perspective, the purpose of this paper is to discuss new design processes and workflows in the production of moving images in order to establish a general comprehension describing contemporary digital production chains for moving images. A purpose of the project is to find and analyze the weak and problematic links of the production chain, in order to suggest a solution for the problems, namely a flexible workflow model for the production of moving images. By flexibility we mean an ability to adapt to new challenges and changes, both external and internal. We have recently initiated this unique collaborative research project that focuses on how small and mid-sized audio-visual production enterprises in Sweden have developed and are developing new design processes due to a number of recent socio-economic and technological challenges. For the first time a number of the front-line production companies in Sweden participates in a scientific research project on common issues. Research questions to be addressed: - Has digitalization of film/TV production increased the flexibility and responsiveness of the production system? - Does this lead to more diffuse or better-defined work-roles among individual film/TV-workers? - Do new workflows and the distribution of creativity lead to an actual decentralization of creative decisions and responsibility in the design process of moving images?

Place, publisher, year, edition, pages
FSB-The Design Society, 2010
Keywords
distributed creativity, design models, audio-visual design, film/TV-production
National Category
Engineering and Technology
Research subject
Innovation and Design
Identifiers
urn:nbn:se:mdh:diva-13131 (URN)000301582200024 ()2-s2.0-84861484986 (Scopus ID)978-953-7738-03-7 (ISBN)
Conference
11th International Design Conference (DISIGN) Location: Dubrovnik, CROATIA Date: MAY 17-20, 2010
Available from: 2011-10-13 Created: 2011-10-13 Last updated: 2019-08-13Bibliographically approved
Organisations
Identifiers
ORCID iD: ORCID iD iconorcid.org/0000-0003-2006-4522

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