This approach emphasizes the perception of surfaces in the environment. His idea of ecological vision comprising an ambient optic array forms a basis of my research. The theoretical framework of my thesis is formulated by cognitive and ecological psychology, especially the work of ecological psychologist James J. As such, my research is an example of a case study, in which practice-based knowledge is utilized. These productions have also been the test bed for artistic ‘making and matching’, as they form a research result part of their own, for instance when the experiences gained in the making of L’Enfant were utilized in the making of Luonnotar. Practical examples from these productions are used as information, to show how the virtual set creates believable fictional environments. Both of these productions have been shot entirely in a bluescreen studio with virtual sets. My research is conducted in the light of two virtual set productions: L’Enfant et les Sortilèges (Kroma Productions 2004) and Luonnotar (Kroma Productions 2011). Furthermore, it asks how the virtual set meets the challenges that every production design has to conquer in order to be able to create a world of cinema. This assumption has been important in my research and has led to the question of how the virtual set differs from earlier illusions. In this sense the virtual set continues the tradition of production design illusion technologies, however it is not necessarily similar to those kinds of illusion as realized with traditional illusion techniques, such as trompe l’oeil painting. In this research I have asked what do we see when we see a virtual set - do we see pixels in a two dimensional picture, or three dimensional environments? As a starting point I assume that every virtual set deludes our senses, or in other words creates an illusion.
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