디지털 영화제작에서 창조적 색 재현을 위한 룩업테이블(LUT) 기술 연구

송낙원(Song, Nak-Won) 한국영상제작기술학회 2018 영상기술연구 Vol.- No.28

LUT has not been in the spotlight until recently. In the beginning of digital camera era on year 2000, the camera manufacturers based on analogue electronic signal process, users had no choice but to accept the whatever outcome it may delivers. But until the revolutionary camera called ‘Red One’ introduced in the world, it’s body was designed as a computer by itself, let users have freedom to control it as personal computer files and became massively popular among film makers. Eventually, the new electronic digital imaging process concepts like RAW, LOG and GAMMA are introduced to digital film makers and they must understand the technologies. In order to conceptualize the much broader dynamic range of image fields, one must understand the concept of LOG and shot images that conserves the true color information of original data of light called RAW. It is significant that camera manufacturers handed over the creative freedom of color representation process for making that ‘film-look’ to film makers. Therefore, the ‘film-look’ and most of visual decisions that used to be made at the shooting stage have transformed to the post production in DI(Digital Intermediate) process. Now, the film director could test all kinds of visual-look possibilities in the DI process. The active consumption of LUT technology would bring simplicity for directors and cinematographers whom are not only wanted the specific ‘film-look’ but to test the new infinite possibilities of ‘digital-look’. It is common to witness the preserving the original images in RAW data format at the film location and create true colors later in the DI post-production stage. During the process, it is necessary to use LUT creatively rather than making LUT as just preset filters.

현대 미국영화 산업의 패러다임 변화에 대한 연구

송낙원 ( Nak Won Song ) 한양대학교 현대영화연구소 2006 현대영화연구 Vol.2 No.1

국제공동영화제작의 경향과 정책

송낙원(Song, Nak-Won) 한국영상제작기술학회 2012 영상기술연구 Vol.- No.16

The international co-production is suggested as an alternative to expand market size. Its advantages are the ease with raising funds, combining the advantages and know-how of participants, and the sharing of the market and the result of exploiting a new market together. The purpose and meaning of the international co-production is to make qualified and high-budget film which one can not make on one’s own, by sharing and combining a ‘budget’, ‘human resources and know-how’, ‘information and material’, and ‘motion picture technology’. It is divided into three groups by the stage in which the cooperation is made in the programme process. The first group is co-financing, which means making film by working out a plan for financing together. Normally it is the most common form in co-production. Second one is co-production, which is sharing financial partnerships and processes like plan and producing. In this case, there can be many problems including cultural differences, production systems, and sharing responsibilities between two countries because the production process is shared by two countries. Third one is co-venture, which covers above-mentioned two groups. Generally co-production means the second one. This research suggests the international co-production as a solution to improve Korean film industry getting worse by determining the fundamental cause. Furthermore, it is planed to make a manual for the practical process and the theoretical background of the international co-production. Therefore this research focuses on analyzing the problems about co-production circumstances in Korea and around the world, based on the concept and the definition of the international co-production, the history of the international co-production in America, Europe, and Asia, and the structure and the nature of a world film market.

한국영화학에서 기술사 연구의 경향과 분야별 사례 연구

송낙원(Song Nak Won) 한국영화학회 2009 영화연구 Vol.0 No.39

Researching a technology history in Korean film history makes a concern of the point of view in several layers. First, it will address issues that we should ask what the film technology is and how to research on the basis of ontology. Second, it requires that we need to research on taking a highly technical and practical approach to the film making and productions of Korean film industry. Third, it should be researched the engineering fields about film technology for industrial and also educational needs. Lastly, it suggests that we should track and historicize the facts of film technology appeared in the past Korean film, look for motivations, reasons and the structure. Although the wide range of studies is based on the concept of film technology, it is common that we need different approach and methodology. Therefore, the aim of study will be further than arranging what type of technology is used in the certain period of time in Korean film history. In general, the human science and social science make us reflect on ourselves. The technology and the art make us more creative. On the contrary, the history of film technology should be fairly evenly crossed borders in such four areas of study. We might call this approach 'Consilience' or 'Convergence' After briefly taking a closer look at the trend of film technology study in Korean film, this paper classified film technology research. It examined what kind of study can be classified to film history among those categories. Furthermore, this paper examines depth analysis and discussion about the change and reason of Korean film technology from 1980 to 2000.

영화치료의 기초 이론 연구

송낙원(Song, Nak Won) 한국영화학회 2013 영화연구 Vol.0 No.57

Western society in the last 100 years has already paid attention to the emotional purification of the art as well as its fundamental healing power. In addition, there have been studies on the emotional education through the arts and its therapeutic effects. The art therapy and music therapy not only have had a broad academic foundation but also have demonstrated the clinical effectiveness. However, Cinema Therapy, one of the sciences, is the branch of express treatment which just now being studied in the United States and Europe. So the Cinema therapy has not attempted sufficient clinical and training programs yet. Due to the rapid spread of digital camera, most people can not only take still pictures but also do video recording by using in-built cell phone digital camera. It indicates that film and video production, as a expressive arts is settled in everyday life. This spread of digital art would open up the possibility of treatment of visual representation. Film and video production before belonged to the expert area, because film and video recording was made by specially trained experts and was possible to invest considerable production cost. Yet now it is easy for anyone to shoot and edit their footage Facebook and blogs. Private screening can also be available through online media thus, film and video production is coming into the private sector. On one hand, in terms of visual, the cinema therapy based on the principles of art therapy. On the other hand, the cinema therapy would be examined relating to the Drama therapy in that it can create a story and show characters’ acting. Moreover, in terms of auditory the principles of music therapy will be applied. Finally, the cinema therapy has already been equipped with the narrative of bibliotherapy in that it can tell its story by writing and organize it by itself In that sense, the basic research of Cinema therapy will present therapeutic function, which has been rarely discussed in the art of the cinema. It will be also a theoretical approach to emotional education and its healing effects in the areas of expressive therapy. Furthermore, this study will be a foundation in the development and research of filmmediated cinema therapy. Consequently it will be able to broaden the studies on cinema therapy as well as its healing function.

독립영화 배급 지원 정책 연구

송낙원(Song, Nakwon) 한국영화학회 2015 영화연구 Vol.0 No.64

한국 독립영화는 상업영화와 마찬가지로 극장 수익에 주로 기반을 두고 있다. 그래서 예술영화전용관 사업과 독립영화전용관 사업은 한국 독립영화 배급 지원정책의 핵심이었다. 그러나 최근 아트버스터의 등장과 함께 예술영화가 멀티플렉스에서 상영되거나 독립영화가 온라인 부가시장에서 큰 성공을 거두는 경우가 나오기 시작했다. 모두 최근 변화된 뉴미디어 시대의 영화 관람 환경 때문이다. 영화산업에서 새로운 플랫폼의 등장은 언제나 새로운 제작 방식의 영화를 탄생시켰다. 80년대에 새로운 미디어인 비디오가 등장했고 이것은 독립영화 제작과 배급에 하나의 혁신이 되었다. 80년대 미국 독립영화의 전성 시기는 비디오 부가판권 시장과 함께 시작했다. 이후 90년대를 거치면서 비디오와 DVD 부가판권 시장의 규모는 전체 영화 플랫폼에서 30-40% 정도에 달할 정도로 커졌다. 한국도 90년대가 비디오 시장의 활황기여서 가장 폭발적인 성장세의 뉴미디어였다. 그 시기 한국영화는 비디오 판권을 바탕으로 지금보다 좀 더 다양한 독립영화 제작과 배급이 시도되었다. 그러나 세계에서 가장 좋은 인터넷 환경은 세계에서 가장 악명 높은 불법 다운로드 환경이 되었고, 2000년대에 들어서 DVD 부가판권 플랫폼은 거의 사라지면서 저예산 독립영화 환경도 어려워졌다. 현재 미래의 뉴미디어로 대두되는 것은 스마트TV다. 스마트TV는 TV하드웨어에 컴퓨터를 결합하여 방송과 인터넷의 경계를 무너뜨린 것으로 새로운 홈 엔터테인먼트의 주역이 될 가능성이 크다. 이제 한국 독립영화의 배급과 상영을 고민하는 중요한 정책으로 기존의 극장 기반의 수익 구조를 유지한 채, 새롭게 미래의 부가시장으로 떠오르는 온라인 부가시장을 확대하는 정책이 이루어져야 한다. 이를 시행하기 위해 독립영화 배급 센터를 설립하여 독립영화 배급의 새로운 패러다임을 주도할 필요가 있다. In 80’s, the heyday of American independent film was started with video ancillary rights market. Throughout 90’s, the ancillary rights market of video and DVD expanded to 30∼40%of all the film platforms. Before that, the films by major studios made over 40% of profit in the theater, which was the first platform. On the contrary to this, the theater was just a marketing tool for independent films because the “real” profit of them came from video ancillary rights. In 90’s, video was the biggest growing new media because the video market was booming in Korea as well. At that times more various kinds of independent films were tried to release based on video ancillary markets than they are now. However, internet environment in Korea, which was the most developed in the world, created the most infamous illegal downloading environment, which made the DVD ancillary rights platform disappear in 2000s. Recently, smart TV has emerged as a new media for the future. It is bound to pay a role as a new home entertainment because it combines TV hardware and computer, which has removed a boundary between broadcast and internet. These days smart TV is approaching to contents market by smart phone companies with diverse strategies. Korean independent film distribution and exhibition market, which was moving up to TV via Video and cable TV from the Art theater release along the value chain, is supposed to face a new challenge and chance in the new convergent media era represented by a smart TV and a smart phone, after going through the time of chaos. Moreover, the convention, which was distributed respectively into countries and territories, will be reorganized into a new global market order at one point. We have to consider how to keep diverse film cultures in this situation. All the worries and expectations for distributing korean independent film to new medias and new business models are always returning to the essential questions, which are what kinds of new independent films we can make and watch and whether these new films can reflect the various voices in our society or not.

서울시 개최 영화제의 평가와 진흥 정책 연구

송낙원(Song, Nak-Won) 한국영상제작기술학회 2012 영상기술연구 Vol.- No.17

International film festival means the event where diverse genre of films from all over the world are shown and compete each other, also actors and directors are invited for the interaction and networking between filmmakers in its film market. It offers audiences chances to meet various kinds of films and filmmakers that of interaction and business. Moreover, it develops film as art and industry, and takes a role as a window through which the culture including film in its society matures and develops in general. The key to success in film festival is judged by the view of participants in the group, which decide whether it was successful or insufficient to meet the expectation and plan, and the check point differs in the stages of its process. It can be evaluated by plan, budget, human and material resources, chosen films and filmmakers, and by the practice like the ability to perform and manage it in the period of the festival. Finally after the festival, its assessment can be done by clear accounting and the appraisal by the press, filmmakers, audiences and festival organization itself. The competitiveness of international film festival is summarized as reputation that attracts qualified films and filmmakers, differentiation that reveals clear direction and unique color in its programming, and effectiveness in its management, the composition of its business, and finance. In this point of view, the international film festival by the Seoul government has to secure cultural diversity by introducing art films, independent films, experimental films, classics, and ethnic films which it is hard for citizens and audiences to meet in the theaters. This can help each film festival to enhance the reputation and the authority, and to motivate filmmakers and audiences to participate in the festival spontaneously.

아메리칸 메소드 연기의 기원과 발전

송낙원(Song, Nak-Won) 한국영상제작기술학회 2015 영상기술연구 Vol.- No.22

In 1923 Bolesavsky and Ouspenskaya, who learned The Stanislavsky System of Acting from Stanislavsky in Russia, established American Laboratory Theatre due to the popularity of Russian Realism play in America. American Laboratory Theatre was the first theatre and the first acting institute which amricanized Russian System of Acting in 1920’s. Lee Strasberg and Stella Adler who seek new acting joined the theatre. In 1931, these American actors founded Group Theatre, which became the center of American theatrical world by americanizing Stanislavsky’s Russian system and changing paradigm of teaching acting. In Group Theatre Strasberg used the concept of Method instead of System. He trained to intense concentration, made use of improvisation, and emphasized emotional memory as the most important acting technique. Sanford Meisner and Elia Kazan joined Group Theatre after that. However, Stella Adler who learned acting from workshop with Stanislavsky in his latter years introduced Post-System of Stanislavsky, which enabled to balance between internal and external aspect of an actor. Furthermore, Sanford advocated his own Method Acting. Elia Kazan established Actors Studio with Strasberg. In 1940, Group Theatre was discharged and the members went their separate ways. They achieved what Moscow Art Theatre did in Russia in 1920’s in America in 1930’s. Moreover, actors who learned acting from them changed acting style in film in Hollywood after 1950’s. New American Method Acting which was shown by Marlon Brando and James Dean in 1950’s and Dennis Hopper, Robert De Niro, and Al Pacino in 1960’s has started modern acting in film. Their realism acting successfully americanized System of Acting started from Stanislavsky in Russia.

한국영화 산업 클러스터 정책 연구

송낙원(Song Nak Won) 한국영화학회 2008 영화연구 Vol.0 No.37

The crisis of Korean film industry, up to now, comes from increasing production costs and total production scale no longer boost total earnings of Korean film industry. The reason why multiplex cinema has made a profit abnormally influencing of a flow of macro economy for last 10 years. Additional markets like DVD, video, and TV went down. We also can find the cause of crisis that failed to develop new additional market based on IT. From the market scale point of view, we should pass the limits and make inroads into foreign market. In the past, we were lack of film industry promotion policy carrying out joint project. From now on, to strengthen the competitiveness of Korean film industry, we should take a growth-oriented policy breaking from promoting as an initiative policy to ensure the diversity and the public what Korean Film Council has pursued. Therefore, it is about time to change a direction that reinforce a screening infrastructure and expend additional market with distribution instead of spending most of film promotion funds to raise domestic film funds so that it increased a work of film productions and production costs. Most of all, we should have a good grasp of characteristic of film industry and set the policy. Film industries link the human network due to be based on project so that it seeks for highly integrated regional clusters. However, Korean Film Council should be invalidated moving to Busan. Start from the scratch, we need to examine the clusters policy of Korean film industry and foster the clusters in the strong government support system such as France, Germany and UK film councils.

영화제 이론과 평가 방법론에 대한 연구

송낙원(Song, Nak Won) 한국영화학회 2012 영화연구 Vol.0 No.54