다큐멘터리 <불멸의 전투> 후반 제작 연구

다국어 초록 (Multilingual Abstract)

Recording is at the core of documentary. The first film in human history is documentary. In modern society, documentary has been everywhere. Since the 21 century, a large number of documentaries are emerging. When talking about documentary, “authenticity” comes into our mind in the first place. Documentary is non-fiction art. On-the-spot record is the most important creative technique. In another word, there is no documentary without authenticity. Authenticity is a significant feature that distinguishes documentary from other audio-visual languages. Nowadays, people pay more attention on storytelling and aesthetics of documentary, while overlooking its primary feature – authenticity.
Documentary pursue the unification of “the authenticity, the goodness and the beauty” and the authenticity is the premise of the other two. Authenticity not only finds its expression in content, but in techniques. The creative process of documentary is an artistic way of rework, which ensures the authenticity of documentary. The whole process requires appropriate creative perspective, objective storytelling identity, objective shooting angle and non-fiction recording to ensure authenticity.
This paper mainly takes the authenticity of documentary as the starting point, taking the advantage of author`s work: <Eternal battle>, discusses the creation process of author`s documentary, elaborates some subjective judgments along the documentary production process. The background of <Eternal battle> comes from the Covid-19. It records theliving conditions of citizens and volunteers in Wuhan, Hubei province, where the Covid-19 outbreaks, reflecting the real state of society under the pandemic. Due to the lack of sufficient production experience, there are inevitably some problems in the process of production. This paper focuses on the subjective elements in the documentary production, taking the principle of authenticity as the core.

국문 초록 (Abstract)

다큐멘터리는 특별한 예술 형태이자 위대한 예술이다. 다큐멘터리는 항 상 현대 사회의 엔터테인먼트 미디어와 시각 예술에서 독보적인 위치를 차지하고 있다. 그러나 다큐멘터리 영화의 제작은 매우 긴 과정이기 때문 에 작품의 모든 측면에서의 공동작업 후 완성된다. 대부분의 창작자에게 다큐멘터리 제작을 어떻게 다룰 것인가는 대부분의 창작자에게 큰 도전이 다. 다큐멘터리에 있어 편집은 큰 의미가 있다. 다큐멘터리의 창작자에게 작품 편집에 대한 요구사항이 높다. 우선 관련 편집 소프트웨어를 활용하 고 관련 특수이펙트와 음악을 사용하는 데 능숙해야 하며 다큐멘터리 편 집자들이 화면을 부드럽고 자연스럽게 배열하는 작업이 필요하다.
2019년 말과 2020년 초 중국 우한에서 코로나19가 처음 발견되어 점차 터졌다. 이후 중국 국내와 전 세계적으로 코로나19가 확산하고 있으며 많 은 국가와 지역에서 코로나19에 대한 대응 조치를 하였다. 그중 중국의 코로나19 대응 조치는 비교적 오래되었다. 우한은 중국에서 코로나19가 발생한 첫 번째 도시로 발생했을 때 우한이라는 도시에 전쟁을 일으켰고 지속적인 불멸의 전투이다. 코로나19 발생 이후 도시는 폐쇄 단계에 들어 가고 전국의 수많은 의료진이 우한 사람들과 함께 노력하기 위해 우한으 로 달려갔다. 수개월의 노력 끝에 우한은 코로나19의 영향으로 몇 달 동 안 침묵한 끝에 마침내 승리를 거두었다. 이것은 중국의 코로나19에 대한
대진대학교
연극영화학부
영상제작전공
왕쯔링 지도교수 성지영

성공이지만 아주 작은 전투일 뿐이다. 앞으로 오랜 기간 동안 코로나19는 중국 내 여러 곳에서, 산발적으로 발생했으며 코로나19가 있는 곳에 의료 진이 있었고 의료진은 어디로 달려갔으며 결국 의료진의 노력으로 사회 대중의 공동 노력으로 코로나19는 한 번 한번 통제되었으며 이것은 확실 히 불멸의 전투이다.
코로나19에 대한 관찰과 이이에 대한 생각을 바탕으로 코로나19가 관련 된 다큐멘터리를 제작하고 이를 기록하는 것이 매우 중요하다. 총성 없는 불멸의 전투를 기록한다는 초심으로 본 다큐멘터리는 불멸의 전투라는 이 름으로 코로나19 발전의 큰 배경에서 우한 코로나19를 사건의 밑그림으로 삼고, 카메라로 우한 코로나19 하 사회를 기록하였다. 불멸의 전투는 코 로나19의 상황을 기록하고, 국민, 사회 대중, 의료진이 코로나19와의 싸움 을 기록한 다큐멘터리이다. 우한 코로나19 발생 이후 우한이라는 도시에 미치는 영향을 기록하고 코로나19이 얼마나 무서운지 기록했으며 도시는 하룻밤 사이에 변화하여 의료진, 자원봉사자, 어떻게 불멸의 전투를 벌였 는지 기록했다. 또한 학생, 요식업 종사자 포함한 코로나19 발생 중 일반 인을 인터뷰하였다. 코로나19 상황에서 그들의 생활 상태를 더욱 이해하 고 자원봉사자도 인터뷰하고 코로나19 상황에서 그들이 한 노력을 더욱더 이해할 수 있다.
불멸의 전투는 초기 문헌 수집부터 중기의 촬영, 인터뷰, 해설사, 그리 고 후기 편집과 더빙까지 모두 우리가 함께 만들어 낸 것이다. 다큐멘터 리 제작 및 창작에 대한 이론적 지식이 향상되었다. 여기서는 먼저 제작 배경, 제작 목적, 제작 과정 등 몇 가지 주요 방면에서 <불멸의 전투>의 제작 과정을 연구할 것이며, 작품 <불멸의 전투>로 전체 다큐멘터리 창작 과정을 설명하고 해석할 것이며, 다큐멘터리 제작, 특히 후기 제작 과정 에서의 편집 문제를 중점적으로 검토하고, 다큐멘터리 <불멸의 전투>의

후기 제작과 편집에 존재하는 몇 가지 문제점을 요약하고 반성할 것이다.

목차 (Table of Contents)

• Ⅰ. 서론 ···························································································· 1
• 1. 연구배경 ·········································································································1
• 2. 연구내용 ·········································································································4
• 3. 연구방법 ·········································································································4
• 가. 문헌 연구 ···································································································4
• 나. 사례 연구 ···································································································6
• 다. 비교 연구 ···································································································7
• 4. 연구의미 ·········································································································8
• 5. 선행연구 ·······································································································11
• II. 본론 ··························································································· 14
• 1. 프리 프로덕션(Pre-production) ·······························································14
• 가. 기획 의도 ·································································································14
• 나. 시놉시스 ···································································································15
• 다. 제작 준비 ·································································································17
• 라. 편집 의도 ·································································································22
• 2. 프로덕션(production) ·················································································23
• 가. 촬영 과정 ·······························································································23
• 나. 촬영 정리 ·······························································································32
• 3. 포스트 프로덕션(Post-production) ··························································40
• 가. 편집 언어 ·································································································40
• 나. 편집 효과 ·································································································44
• 1) 리듬 편집 효과 ····················································································44
• 2) 디테일 편집 효과 ················································································52
• 다. 편집 과정 ·································································································55
• 1) 편집 ········································································································55
• 2) 자막 ········································································································63
• 3) 사운드 ····································································································64
• 라. 색 보정 ·····································································································69
• Ⅲ. 결론 ···························································································· 78
• Ⅳ. 별첨 ···························································································· 82
• 1. 콘티 ··············································································································82
• 참고문헌 ························································································· 107
• ABSTRACT ··················································································· 112