@misc{903,
  author       = {{Stepan, Björn}},
  pages        = {{152}},
  publisher    = {{Hochschule Ostwestfalen-Lippe}},
  title        = {{{Film-Look - Analyse entscheidender Parameter im Bewegtbild Design}}},
  year         = {{2016}},
}

@misc{957,
  author       = {{Krips, Nadine}},
  keywords     = {{Marketingstrategie, Online-Marketing, Virtuelle Realität}},
  pages        = {{36}},
  publisher    = {{Hochschule Ostwestfalen-Lippe}},
  title        = {{{Vergleich von Virtual Reality mit ähnlicher Unterhaltungselektronik anhand der Analyse dazugehöriger Marketingstrategien : Untersuchung auf Ähnlichkeiten und Gründe gegebener Misserfolge}}},
  year         = {{2016}},
}

@misc{976,
  author       = {{Oberfrank, Eva Eldrid}},
  keywords     = {{Dokumentarfilm, Leave No Stone Unturned, Reisefilm, Filmanalyse, Inhalt, Stilmittel, Wirkungen}},
  pages        = {{65}},
  publisher    = {{Hochschule Ostwestfalen-Lippe}},
  title        = {{{Das fremde Land im Reisefilm : Die Unterschiede und Wirkungen verschiedener Dokumentationsformate}}},
  year         = {{2016}},
}

@misc{1709,
  author       = {{Loe, Samuel}},
  pages        = {{91}},
  publisher    = {{Hochschule Ostwestfalen-Lippe}},
  title        = {{{Internet, die neue Zukunft der Hollywoodfilme}}},
  year         = {{2015}},
}

@misc{1769,
  author       = {{Gutsmann, Andreas}},
  pages        = {{127}},
  publisher    = {{Hochschule Ostwestfalen-Lippe}},
  title        = {{{Workflow Management in digitalen Videoproduktionen}}},
  year         = {{2014}},
}

@misc{1521,
  author       = {{Hachmeister, Sven}},
  keywords     = {{Bildgestaltung, Medienproduktion, Musikvideo}},
  pages        = {{90}},
  publisher    = {{Hochschule Ostwestfalen-Lippe}},
  title        = {{{Bildgestaltung bei Heavy Metal Musikvideos : MUSIKVIDEOPRODUKTION I CALIBAN - „THIS OATH“}}},
  year         = {{2013}},
}

@misc{1550,
  author       = {{Skora, Katrin}},
  pages        = {{260}},
  publisher    = {{Hochschule Ostwestfalen-Lippe}},
  title        = {{{Illusion und Wirklichkeit : Production Design im narrativen Kurz!lm}}},
  year         = {{2013}},
}

@misc{1554,
  author       = {{Eßbach, Leo}},
  pages        = {{269}},
  publisher    = {{Hochschule Ostwestfalen-Lippe}},
  title        = {{{KAMERAFÜHRUNG UND LICHTSETZUNG im narrativen Kurzfilm : Handwerk und Gestaltung}}},
  year         = {{2013}},
}

@misc{1037,
  abstract     = {{This master thesis focuses on the problems that can occur at 3D stereoscopic productions with a student budget. It provides the reader with the basic knowledge about the human eye. Further the human perception of 3D stereoscopic content is described. The reader will learn about the basic techniques and the technical appliances used in the production and the presentation of 3D stereoscopic movies. The special focus of this work is the comparison of a low budget student spot that was produced in stereoscopic 3D to other well known blockbuster movies regarding the subjects of ghosting/crosstalk, disparity and asynchronous frames. The reader will know how he or she can prepare a 3D life action shooting with a low budget avoiding these three failure sources.}},
  author       = {{Mompour, Marcel}},
  keywords     = {{3D stereoscopic, ghosting, crosstalk, bad synchronisation, disparity, low budget, Stereoskopischer Film, Synchronisierung}},
  pages        = {{63}},
  publisher    = {{Hochschule Ostwestfalen-Lippe}},
  title        = {{{Comparison of 3D stereoscopic blockbuster movies with a 3D stereoscopic spot realised with a student budget regarding ghosting/crosstalk, bad disparity and asynchronous frames}}},
  year         = {{2012}},
}

@misc{1051,
  abstract     = {{In the last years, an ongoing trend of producing stereoscopic movies can be observed. While they hold some advantages like stronger immersion, also side effects like visual fatigue were reported. One of the reasons for this is the vergence-accomodation conflict, which describes the unnatural uncoupling of vergence and accomodation that audiences of stereoscopic films are forced to do. As this conflict only causes symptoms at excessive discrepancies, filmmakers should keep the stereoscopic disparity in their films below a certain level. However, there is no consensus on what level that limit should be, so a general guideline is needed. By investigating the findings of different authors and analysing the disparity values of five stereoscopic feature films, a recommendation to limit the disparity of theatrical films to a value of 3% in negative space and 2% in positive space is given.}},
  author       = {{Spindler, Mark}},
  keywords     = {{Fernsehen, Stereoskopischer Film}},
  pages        = {{36}},
  publisher    = {{Hochschule Ostwestfalen-Lippe}},
  title        = {{{Limiting the Disparity in Stereoscopic Films to ensure a Comfortable Viewing Experience}}},
  year         = {{2012}},
}