• The Journal of the Korea Contents Association
• /
• v.9 no.9
• /
• pp.163-170
• /
• 2009

This paper is an analysis of the newly invented RED ONE camera and its various advantages, and also a comparison of the results with already existing digital cameras. As film production systems have been converting to digital systems, Arri Camera, one of the existing film camera companies, has invented and developed the Arri D21.Sony, the leader of the high definition digital camera industry, is also securing its role as the leader of digital filmmaking by introducing the CineAlta F-900 series. With these advances in digital filmmaking, the advent of the RED ONE camera opens doors to new possibilities to digital filmmakers. The development of digital cameras with thoughtful consideration for its users has Influenced the filmmaking environment immensely and has become the reason why it is playing a major role in digital filmmaking.

• Journal of Digital Convergence
• /
• v.18 no.10
• /
• pp.409-418
• /
• 2020

The study focused on Jean-Luc Godard's about the relationship between visual effects and psychoanalysis of the film. Godar set up an interpreter for communication between the scenario adaptors and producers, producers and directors, producers and interpreters, and assistants in However, the role of an interpreter is based on the premise that although there is an interpreter, accurate communication is impossible. Such a break in communication is used as a strategy to clearly clarify Godar's own direction while revealing the difficulties of filmmaking as the gap between the two sides in filmmaking becomes clear. Based on Freud's theory of psychoanalysis, the meaning of the study is to analyze Jean-Luc Godard's relationship with filmmakers, directors, writers, actors and how the director visually reproduces the conflict among the invisible participants in the film.

• The Journal of the Korea Contents Association
• /
• v.10 no.4
• /
• pp.123-132
• /
• 2010

Beginning in 1990's, 3D filmmaking reappeared. As almost every job in filmmaking is digitalized, 3D takes advantage of its new software and hardware, and digital friendly customers as well. One reason why Korean cinema should take 3D seriously is that it can resolve the old and tough problem of unemployed human resources in film production. Another reason is the cooperation programs in which universities and 3D companies can join. 3D cinema can create new cinema goers who don't belong the regular viewer. The totally new experience of 3D can bring people to the movie theaters, and this will add up the total movie customers that expand the whole film industry. The newly designed 3D also could take care of piracy of movie file uploading and downloading through internet. 3D cinema would be precious alternative for film industries of Korea.

• The Journal of the Korea Contents Association
• /
• v.12 no.5
• /
• pp.81-90
• /
• 2012

Since the Canon EOS 5D Mark II with which the Full HD video shooting is possible was launched in 2008, the utilization of the DSLR cameras has been increasing in the video production field. In this thesis, the shortages and advantages of the video functions that the 5D Mark II cameras have will be analysed and they will be compared with the RED cameras that are most widely used in the video production field today. Through this, the utilization of the DSLR camera in the film production field will be investigated. The DSLR camera has the advantage of having good clear picture since it uses the image sensor of big size, and of being able to utilize the various lenses of good quality, and is small in size and light in weight compared to the conventional HD cameras. Although, there are some limitations that there are parts to be improved such as the sound recording problems and development of various additional equipments, the excellent usage that the DLSR cameras have is presenting a new possibility for the film production.

• Cartoon and Animation Studies
• /
• s.37
• /
• pp.509-537
• /
• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.10 no.11
• /
• pp.3514-3523
• /
• 2009

Before 1990's, Korea had only few colleges that had film and film related majors. As Korean film industry started its marvelous improvement in both commercial and artistic phase, many colleges were interested in this new academic field. They hurried up to launch this new and profitable major; as a result, Korea now has more than hundred colleges and universities that has film related majors. Each college enumerates numbers of academic courses that may look reasonable; they have almost every course a fine film school should provide such as film theory, production, and performance in film. Lots of film schools offer lots of film courses; and they look alike. One unique thing in film major is its vast sub fields and categories. After you decide to study film, you have to select what specific field in film you want to study. Studying film theory and film production can be as different as majoring physics and physical education. The problem Korean colleges are dealing with is that there are too much film schools, and moreover those colleges have similar curriculums that just look like a department store that sells everything. One suggestion is specializing its curriculum in which the school can take advantages using their special conditions. San Francisco Art Institute is one of United States well known private film schools, but many people remember this school as a specialized film school in experimental film. San Francisco where this school is located has had many liberal and experimental artists as the city has been supporting and offering them an environment they can concentrate their work. Naturally, the school has world famous faculty members in experimental film, and students who want to study and make experimental film come to this school from all over the world because they know this school would be the best to study experimental film. There are many film schools in metro Los Angeles area; since its location near Hollywood, no wonder these schools concentrate on film producing and film production. They take advantage of their geographical location to hire film industry professional and to focus on commercial feature film productions. What we can do now to adjust the curriculum in film and film related major in Korean colleges is to adapt new standards in this changed film industry. One school can emphasize digital production while another school focuses on digital intermediate process. But if one school tries to both fields or all fields of film major just like we have done so far, the school could not take care of all the equipment and the faculty that the fields would need. Korean film schools should devide the field in film major and concentrate what they selected. Selection and concentration can be and should be applied in Korean film schools.