색온도 문제와 미장센

고호빈 호남대학교산업기술연구소 2009 산업기술연구논문집 Vol.15 No.-

Nothing can be a direct visual element to compose a film image than color. Because the root element of color is a visible ray, color comes overwhelming our vision at the velocity of light. A visible ray emitted fr'om a light source makes every object colored while it itself wears a unique color as well. A specific and distinctive color of a light source defines an overall color tone on a screen. Cinematic aesthetics has a concept named mise-en-scene, which includes visual elements' arrangement, composition, and effects of a shot, a constituent unit of a film. Considering color the most overwhelming visual element, the expression of a color tone on a screen in the issues related to mise-en-scene is tremendously important. Digital film making, today ’s most popular form, utilizes an automatic program to control the expression of screen color tones, which causes a problematic question when viewed from an aesthetic perspective. Not only are the automatic programs impossible to handle creative and individual expressions, but it also causes distortions to fundamentally successive and analog colors. 영상을 구성하는 여러 시각적 요소 중 색만름 직감적인 것은 없다. 발색의 원인적 요소가 가시광선이므로, 색은 광속의 속도로 우리의 시각을 압도해온다. 광원으로부터 방사되는 가시광선은 모든 사물이 색깔을 띠도록 작용하면서, 스스로도 특정의 빛깔을 띤다. 광원의 특정하고 고유한 빛깔은 영상제작에 있어서 화면의 전체적 색조를 결정한다. 영화 미학에는 미장센(mise-en-sce'ne) 이 라 는 개념이 있다. 미장센은 영상의 구성 단위언 쇼트 (shot)의 모든 시각적 요소들의 배치와 구성, 그리고 그에 기인한 효과까지를 뜻한다. 시각적 요소들 중 색만큼 압도적인 것이 없다면, 미장센의 문제에서 화면 색조 표현이 차지하는 비중은 심대하다. 요즈음의 추세인 디지털 영상제작에 있어서 화면 색조의 표현은 자동화된 프로그램에 따라 처리되고 있다. 이는 미학적 관점에서 볼 때 문제적 소지가 다분하다. 자동화된 프로그램은 창의적이고 개성적인 표현을 불가능하게 한다는 점에서 또한 본질적으로 연속적이고 아날로그적인 빛깔에 대해 디지털적 처리는 왜곡을 초래할 수밖에 없다는 점에서 그렇다.

영화제작에 있어서 디지털 인터미디어트

고호빈 호남대학교산업기술연구소 2007 산업기술연구논문집 Vol.13 No.-

이미지 테크놀러지와 소프트웨어나 하드웨어 형태의 디지털 이미지 제작 도구들을 영화 제작에 활용하는 것을 '디지털 인터미디어트'라고 한다. 원래 영화란 필름이 발명되었기 때문에 가능해진 매체이다. 지난 세기 동안 영화를 제작하는 데 있어 필름을 사용하지 않은 경우는 없었다. 필름은 영화의 동의어로 쓰일 정 도였다. 한편,지난 세기 후반 TV와 비디오라는 전자영상매체가 등장했다. 필름 영화와 전자영상매체는 한편으로는 경쟁하면서,또 다른 한편으로는 상호 보완적으로 발전했다. 여기에서 상호 보완적이었다는 것은 필름 영화가 TV와 비디오의 콘텐츠로 전환되어 보급됨으로써 전자영상매체의 발전에 큰 기여를 했다는 뜻이다. 그러나 TV와 비디오 콘텐츠가 필름 영화로 전환되는 경우는 드물었다. 가장 큰 이유는 TV와 비디오가 구현하는 영상과 음향의 질과 미학적 표현력이 필름 영화에 비해 열등했기 때문이다. 21세기,TV와 비디오의 원천 기술이 디지털 방식으로 바뀌고,HD 포맷이 개발되면서 상황이 달라지고 있다. 디지털 HD 포뱃의 영상과 음향의 질은 필름의 그것과 대등한 수준으로 평가된다. 그리고 디지털 방식의 영상 제작 공정은 대단히 경제적이고 효율적이다. 이제 영화 제작에 디지털 제작 공정을 채택하지 않을 이유가 없다. 미래의 영화는 필 름 없는 영화,디지털 영화가 될 것이다. Using digital image technology or digital image making tools in the form of software or hardware on film making is called the 'digital intermediate.' Originally, the cinema became a medium through the invention of film. During the past century it was impossible to produce the cinema using film. It even became so that the word 'film' was used as a synonym for 'cinema'. In the mean while, during the last few decades, the electronic media such as TV and video were introduced. The film media and the electronic media have been competing with each other, on the other hand, developing complementarily. What is meant here by 'complementarily' is that the distribution of the films as the contents or programs on TV and video contributed greatly to the development of the electronic media. However, not often were the contents of TV and video converted into the films. This is because the quality of image, sound, and artistic expression in TV and video were inferior to those of the films In the 21st century, as the older analog technology for TV and video changed to the digital and the HD format was developed, a new situation has been formed. The quality of image and sound of the digital HD format can now be equal to those of the film. Also, film making by the digital method is very economic and efficient. There is now no reason not to choose the digital process when making films. The cinema of the future will become a digital cinema of 'the film without film".

The Effects of Academic Stress, Empathic Ability, and Meaning in Life on the Happiness of College Students

고호빈 사단법인 미래융합기술연구학회 2022 아시아태평양융합연구교류논문지 Vol.8 No.4

This study was conducted to understand the effects of academic stress, empathic ability, and the meaning in life on the happiness of college students. A total of 174 college students were surveyed from September 5 to 30, 2021. For data collection, the researcher directly explained the contents of the study to the research subjects and collected the questionnaire from college students who agreed to participate voluntarily. As research tools, academic stress, empathic ability, and the meaning in life were used. The data was analyzed using IBM SPSS Win 22.0 Program. The standard deviation was calculated analyzing the characteristics and variables of the subjects with frequency and mean. The differences between variables according to subject characteristics were analyzed using t-test, ANOVA, and Pearson’s correlation coefficients and Scheffe’s post hoc analysis. The effect on happiness was analyzed by regression analysis. Based on the results of the study, subjects' academic stress and happiness showed a significant negative correlation, and empathic ability and happiness, and the meaning in life and happiness showed a significant positive correlation. Factors affecting the subject's happiness were academic stress, empathy, and the meaning in life, and the explanatory power of the model was 36%. Through this study, it is suggested that a program that can improve empathic ability and the meaning in life and lower academic stress should be developed to increase the sense of movement of college students, and that various studies are needed by adding variables that can affect college students.

반영적 다큐멘터리와 실행적 다큐멘터리에 대한고찰

고호빈 호남대학교 2007 학술논문집 Vol.28 No.2

The purposes of this paper is to identify six different modes of representation that function something like sub-genres of the documentary film genre itself: poetic, expository, participatory, observational, reflexive, performative. The order of representation for these six modes corresponds roughly to the chronology of their introduction. The desire to come up with different ways of representing the world contributes to the formation of each mode, as does a changing set of circumstances. New modes arise partly in response to perceived deficiencies in previous ones. but the perception of deficiency comes about partly from a sense of what it takes to represent the historical world from a particular perspective at a given moment in time. The reflexive mode is the most self-conscious and self -questioning mode of representation. Reflexive documentary films to be called fake documentaries rely on trained actors to deliver the performances we initially believe to be the self-presentation of people engaged in everyday life. Our realization of this deception, when the credits reveal the fabricated nature of the performances we witnessed, prompts us to question the authenticity of documentary in general. At its best, reflexive documentary prods the viewer to a heightened form of conscious about the relation to a documentary and what it represents, The emotional intensity and subjective expressiveness of performative documentary took shape in the 1980's. In recent work this social subjectivity is often that the underrepresented or misrepresented, of women and ethnic minorities, gays and lesbians. Performative documentary can act as a corrective to the films where 'We speak about them to us.' They proclaim, instead, that 'We speak about ourselves to you.' or 'We speak about ourselves to us.' In this formation, Filmmaker and subject are the same stock. By speaking about an ourselves that includes the filmmaker these films achieve a degree of intimacy that be quite compelling. Performative documentaries contribute to broader issues of difference, equality, and non-discrimination. They attest to a commonality of experience and to the forms of struggle necessary to overcome stereotyping, discrimination, and bigotry. The political voice of these documentaries embodies the perspectives and visions of communities that share a history of exclusion and a goal of social transformation.

영화 이미지의 존재론과 인식론적 의의(意義)

고호빈 호남대학교 인문사회과학연구소 2005 인문사회과학연구 Vol.12 No.-

탈중심적 영화에 대한 연구

고호빈 호남대학교 2007 학술논문집 Vol.28 No.2

This paper contemplates the issues of decentering in the modern cinema. The mainstream cinema for the film history is the narrative cinema. This cinema maneuvers the apparatus and codes to unify the points of view and time. Although it is minor, a series of the contemporary movies that can be named the 'acentric' films expose such a discontinuity and incoherence. The point of view and time in the acentric films is ceaselessly increased and acentred. There are several points of views and theories to interpret it. However, it is the general consensus that most of codes, system of representations, and discourses are exposed as the ideological nature. However, the assertion of the later structuralism philosopher, Gilles Deleuze, is unique and attentive. We, human beings as the living body, cannot sustain such an excessive stimulation of the images. Therefore, Deleuze argues, in order to avoid the excessive dissipation arising from the image, the circuitry of our brain is operated. The circuitry of brain that Deleuze referred to is the rationality or understanding. Following the argument of Deleuze, our function of rationality critically civilizes the image for the survival of our existence. In other words, it forms the order, coordinates and codifies. All visual codes including the perspectives, artistic codes, social and cultural regulations and systems may be understood in such a context.

1930년대 영국 다큐멘터리 운동에 대한 고찰

고호빈 호남대학교 2008 학술논문집 Vol.29 No.1

This paper deals with the 1930s British Documentary Movement. John Grierson was the advocate and leader of the movement. His view of film was as a form of social and political communication and a mechanism for social reform, education, and perhaps spiritual uplift. Ironically, Grierson's outspoken film philosophies caught the attention of the Empire Marketing Board. He was asked to make a documentary for promoting British world trade and British unity throughout the empire. In 1929 Grierson completed his first film, Drifters, which follows the heroic work of North Sea herring fishermen. It received high praise from both its sponsors and the press. After this success, Grierson became a tireless organizer for the EMB, enlisting a stable of energetic young filmmakers into the film unit. The young filmmakers came to share Grierson's broad social purposes and developed a new kind of documentaries which subjects dealt with included unemployment, slums, malnutrition among the poor, smog, and education Unlike the earlier documentaries, they incorporated modal and technical experiments. Two of most notable among these, the first was the establishment of the expository documentary and the last was the direct interview, with slum dwellers in Housing Problems, for example, presaging the much later cin?ma v?rit? method.

디지털 팔름 메이킹에 있어서 노출의 문제

고호빈 호남대학교산업기술연구소 2008 산업기술연구논문집 Vol.14 No.-

All objects reflect the light received from light sources. A camera is the machine of recording the light that is ret1ected by the objects. The brightness and darkness in the film image depend on the amount of light. And the color in the film image is determined according to the wavelengths of light. Exposure is what a camera regulates the amount of light. Accordingly, exposure is the most central problem in film making. Even in digital film making, the importance of exposure cannot be reduced and the optical principles in exposure cannot be varied. If any problems about exposure arise in digital film making , they only originate with being strange in the functions of digital film making equipment, and therefore may be easily solved to master the operating techniques of digital film making in light of the optical principles in exposure, and mastering the operating techniques. Regardless of difference in media and methods, the core in the problems about exposure rather relies on achieving exposure that can take advantage of a cameraman’ s aesthetic and creative intention beyond technological and arithmetic exposure. 모든 사물들은 광원으로부터 빛을 받아 고유의 반사율에 따라 반사한다. 차메라는 사물이 반사하는 빛을 받아들여 기록하는 기계이다. 빛의 량에 따라 영상의 밝고 어두움이 결정되고, 어떤 파장의 빛이냐에 따라 색이 결정된다. 촬영 시에 카메라가 받아들일 빛의 량을 조절하는 것이 노출이다. 따라서 노출은 영상 제작에 있어 가장 핵심적인 문제이다. 디지럴 방식의 영상 제작에 있어서도 노출의 중요성이 감소될 수 없고, 노출의 광학적 원리가 변할 수는 없다. 디지럴 필름 메이킹에서 일어날 수 있는 노출의 문제란 단지 디지털 영상 제작 장비들의 기능들에 익숙하지 않다는 데에서 오는 것일 뿐이다. 이는 노출의 광학적 원리에 비추어 디지털 영상 제작 장비들의 운용 기술을 습득한다면 능히 해결할 수 있는 문제다. 매체나 방식의 차이를 막론하고 노출 문제의 핵심은 오히려 테크놀로지적이고 산술적인 노출을 넘어 촬영자의 미학적 의도를 살릴 수 있는 노출을 성취하는 데 있다.

영화 이미지에 대한 포스트모더니즘적 고찰

고호빈 호남대학교 2005 호남대학교 학술논문집 Vol.26 No.2

This study is to explain the nature of the film image from the viewpoint of postmodernism. According to Deleuze who is one of the famous postmodernists, the trajectory of the cinema recapitulates that of philosophy and its gradual discovery of what images is. The potential of the cinema as a kind of images remains only a potential unless certain film kind images are enlisted to propel thinking to its limits, and this is never simple. As an industrial art, the cinema has unparalleled economic and industrial consequences, and for this reason the invention of new images is infinitely easier to prevent. This must be seen against the backdrop of what amounts to the development of cinematographlc regularities, which gravitates toward to inertia of our perception. The old order of things is irremediably deregulated by World War Ⅱ. In the tracts o postwar destruction and reconstruction there is no longer any good, any justifiable reason for the rational linkage of images, and the cinema undergoes remarkable mutation. The new film images in the New Waves cease to make sense, developing instead into the bizarre and the banal; the unity of time and space into so many disparate fragments. They no longer obey laws of traditional, commonsensical causality. By developing new images, the modern cinema thus establishes a new logic among images, that is, a new kind of montage. No longer linked by the schematic causality, the relation between one image and another a gap opens, an interstice we can experience what Deleuze calls the 'plane of immanence'. This plane is the virtual, nonhuman and prephilosophical milieu, in which image = matter = movement = perception. In other words, the cinema augurs a path to a plane that, superseding the limits of normal perception, deterritorializes the classic coordinates of philosophy. The cinema opens the possibility of deterritorializing the rigid image of thought that in one form or another has dominated Western philosophy. When the cinema ceases to imitates normal human perception, it discovers the universe as cinema in itself.

스테레오스코픽 3D 영화 제작에 있어서 뎁스 버짓의 할당에 관한 연구

고호빈 사단법인 인문사회과학기술융합학회 2016 예술인문사회융합멀티미디어논문지 Vol.6 No.11

The problem on the allocation of depth budgets, in regards to stereoscopic 3D filmmaking, refers to in what way the 3D effects are regulated. Improper allocation of the depth budgets causes abnormal 3D effects that induce defects or abnormality in the visual effect of the audience itself. For this reason, the first objective of the depth budgets allocation in stereoscopic production is to prevent the revelation of abnormal 3D effects. However, the prevention of abnormal 3D effects does not mean that it is the sufficient condition for the allocation of depth budgets. The 3D effects that manifest in accordance with the depth budgets allocation ultimately influences the significance of the film image as a medium or a sign. Thus, the resolution to the problem on the allocation of depth budgets in stereoscopic filmmaking is at last sufficient when it is drawn from consideration of the evasion of abnormal 3D effects, as well as from the aspect of significance. Through examples collected from test shots, this study analyzes the influence of each adjustable item on the materialization of 3D effects in depth budgets allocation, and empirically elucidates how depth budgets should be allocated for each example in the aspect of direction in constituting the significance of the film image. 스테레오스픽 3D 영화 제작에서 뎁스 버짓의 할당 문제는 3D 효과를 여하히 통제하느냐에 관한 문제를 말한다. 뎁스 버짓의 부적절한 할당은 관객의 시각 작용 자체에 장애나 이상을 유발하는 비정상인 3D 효과들을 야기한다. 스테레오스코픽 제작에 있어서 뎁스 버짓 할당의 제일의 목표를 비정상적인 3D 효과들의 발현을 방지하는 데 두는 것은 그런 이유에서다. 그러나 비정상적인 3D 효과의 방지가 곧 뎁스 버짓의 할당에 있어서 충분조건이 되는 것은 아니다. 뎁스 버짓의 할당에 따라 발현되는 3D 효과는 궁극적으로 매체 또는 기호로서의 영상의 의미에 영향을 미치기 때문이다. 따라서 스레오스코픽 영화 제작에서 뎁스 버짓의 할당 문제의 해법은 비정상적인 3D 효과들의 회피뿐만 아니라, 의미 측면까지를 고려하여 도출되어야 비로소 충분한 것이 된다. 본 연구에서는 테스트 촬영으로 수집된 사례들을 통해, 뎁스 버짓의 할당에 있어 조절 가능한 각 항목들이 3D 효과 구현에 미치는 영향을 분석하고, 영상의 의미를 구성하는 연출의 관점에서 각 사례들에서의 뎁스 버짓의 할당이 어떻게 이루어져야 할 것인지를 실증적으로 해명했다.