디지털 시네마의 제작환경에 맞춘 촬영과 조명기법 －영화 <후궁>을 중심으로－

Abstract

There is no set definition of digital cinema yet. But a large number of movies worldwide are made through digital cinema process. Therefore movie industries worldwide need to rush on setting up the standardization of digital cinema. Korean movie industry should not be an exception. Here on this paper, we define digital cinema as a born digital medium. In other words, it is shot digitally and kept digitally throughout the whole work-flow. On the other hand, process that involves conversion from digital files to film or vice versa is more convenient for a cinematographer to keep his/her intention throughout the whole process than digital cinema. Not like film era where there is rather limited and data-based color space, there is not enough data-base built up in digital cinema yet. So cinematographers face unlimited color space which makes them nearly impossible to keep their visual intention throughout the whole movie making process. As a starter, this paper examines cinematography and lighting techniques used on the sets of the movie <Concubine> which completely followed digital cinema process. We learn about cinematographer’s attempts to keep his visual intention throughout the whole work-flow.