디지털 영화 제작 연구 - 디지털 시네마를 중심으로 -
A Study on the Digital Film making - Focusing on Digital Cinema -
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A drastic change in film making by digital system is recently paid attention. Impact of the digital film making is analyzed in this article. Digital technology has changed the entire process of motion pictures, from production, distribution to exhibition. Since the Lumiere brothers showed “Arrival of a Train at a Station”to a live audience, more than 110 years has passed since the material of celluloid has flickered through a lit projector in a theater. Now, it has transformed into a digital file. There are many reasons for this shift from traditional film to digital cinema. Foremost, digital cinema reduces industry costs by eliminating the need for expensive prints. It improves picture quality with no print degradation and more consistent projection. Also, it can support a high-end sound system and multiple language tracks. Digital technology also provides greater convenience, efficiency and speed in the filmmaking process. Futhermore, digital visual effects in blockbuster movies have become public spectacles that attract audiences. For theaters, digital projection has the capability to show live concerts and sporting events. Considering its increasingly ubiquitous status and multi-platform possibilities, digital cinema is most likely the future of the film industry. Meanwhile, as these rapid changes in digital cinema as the ultimate format and portal are ongoing, many obstacles appear. Installing digital projection and distribution systems require substantial investment. The high risk of piracy is another issue. Digital distribution faces its own unique challenges and there is currently much debate regarding preferred methods such as satellite, network or fixed media. There remains significant debate over many aspects of digital cinema. One aspect that is universally agreed upon is the need for technology standards. Digital Cinema Initiatives, LLC (DCI) was created in March 2002 to establish and document voluntary specifications for an open architecture for digital cinema. But each country has a different needs and situations, different from the US. More research and investigation is needed for Korean technology standards of digital cinema. Greater governmental support and corporate investment can help find adequate solutions for the establishment of a complete digital cinema system.
Abstract
A drastic change in film making by digital system is recently paid attention. Impact of the digital film making is analyzed in this article. Digital technology has changed the entire process of motion pictures, from production, distribution to exhibition. Since the Lumiere brothers showed “Arrival of a Train at a Station”to a live audience, more than 110 years has passed since the material of celluloid has flickered through a lit projector in a theater. Now, it has transformed into a digital file. There are many reasons for this shift from traditional film to digital cinema. Foremost, digital cinema reduces industry costs by eliminating the need for expensive prints. It improves picture quality with no print degradation and more consistent projection. Also, it can support a high-end sound system and multiple language tracks. Digital technology also provides greater convenience, efficiency and speed in the filmmaking process. Futhermore, digital visual effects in blockbuster movies have become public spectacles that attract audiences. For theaters, digital projection has the capability to show live concerts and sporting events. Considering its increasingly ubiquitous status and multi-platform possibilities, digital cinema is most likely the future of the film industry. Meanwhile, as these rapid changes in digital cinema as the ultimate format and portal are ongoing, many obstacles appear. Installing digital projection and distribution systems require substantial investment. The high risk of piracy is another issue. Digital distribution faces its own unique challenges and there is currently much debate regarding preferred methods such as satellite, network or fixed media. There remains significant debate over many aspects of digital cinema. One aspect that is universally agreed upon is the need for technology standards. Digital Cinema Initiatives, LLC (DCI) was created in March 2002 to establish and document voluntary specifications for an open architecture for digital cinema. But each country has a different needs and situations, different from the US. More research and investigation is needed for Korean technology standards of digital cinema. Greater governmental support and corporate investment can help find adequate solutions for the establishment of a complete digital cinema system.
참고문헌 (15)
- 디지털시네마 비전위원회, "D-Cinema 비전 2010" (2005)
- 토마스 엘새서, "디지털 시대의 영화" (2002), 한나래
- 레프 마노비치, "뉴미디어의 언어" (2004), 생각의 나무
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- 현승훈, "디지털 시네마 시스템의 기술개발 동향과 전망 : 디지털배급 시스템을 중심으로", 영화연구, (23), pp.471~490 (2004), 한국영화학회
- 김건, "디지털 시대의 영화산업" (2006), 삼성경제연구소
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- 김현빈, "훤히 보이는 디지털 시네마" (2006), u-북
- Nigel Culkin, "Digital Cinema : Opportunities and Challenges" (2003), Convergence
- Scott McQuire, "Impact Aesthetics: Back to the Future in Digital Cinema? : Millennial fantasies" (2000), Convergence
- John Belton, "Digital Cinema : A False Revolution, OCTOBER 100"
