3D 입체영화 관객성의 제 요소들

김병철 ( Byeong Cheol Kim ) 한양대학교 현대영화연구소 2011 현대영화연구 Vol.7 No.2

James Cameron`s Avatar hit a big international success. With this success, 3D stereoscopic cinema emerged as a new dominant media format. In principle, the stereoscopic cinema imitate the vision of the human being who has two eyes. The stereoscopic cinema shoot with 2 connected cameras at the same time and overlap the 2 different images. With the stereoscopic glasses, the human being can see the overlapped images as a single 3D stereoscopic image. The emergence of this 3D stereoscopic cinema changes the spectatorship of the cinema. Three factors influence the spectatorship. 1)The subject of the film experience can be influenced by the restriction which imposed by the principle of the stereoscopic cinema. Marshall McLuhan`s assertion media is a message means that the new media changes the condition of the human perception. 2)The principle of the stereoscopic cinema influence the spectatorship. the convergence point, safety zone become the parameter of the directing. The spectacle that the stereoscopic images make becomes the key point of the narrative. 3D stereoscopic cinema find the new convention that join the spectacle and the narrative motivated this spectacle. 3)The industrial elements influence the form of the stereoscopic cinema and the spectatorship. The dynamic force of the 3D stereoscopic cinema comes from the film industry which search the new market and the consumer-electronic industry which also search the new hardware market. Another key element of these industrial elements is the theater. These three factors which influence the spectatorship are not entirely new. Eventually, 3D stereoscopic cinema is the part of the cinema and the experience of the spectators is not entirely different. But, the evolution of the technology of the 3D stereoscopic cinema will change the spectatorship eventually.

스테레오스코픽 3D 영화의 현존감, 현실 재현, 어트랙션에 관한 연구

정인선,차민철 한국디지털영상학회 2023 디지털영상학술지 Vol.20 No.2

In many cases, theoretical and empirical studies on 3D cinema set immersion and presence as its essential elements. However, various factors induce presence and immersion in 3D cinema. In addition to immersion and presence, a concept frequently emphasized in research on 3D cinema is the ‘Representation of reality’. For an in-depth understanding of 3D cinema, it is necessary to expand recognition of another characteristic of ‘Attraction’ as well as immersion, presence, and representation of reality. In particular, the ability of representing reality of 3D cinema, can be understood from the ‘Total Cinema’ proposed by André Bazin and the concept of ‘Attraction’ by André Bazin and Tom Gunning. Also, a new perspective on 3D cinema that is different from 2D cinema in terms of creation and acceptance and a directing method optimized for 3D cinema is required. 3D cinema needs to be recognized from a renewed perspective that encompasses physical, cognitive, and psychological dimensions such as immersion, presence, reality representation, and attraction. In this study, based on the concept of presence and sensory stimulation, one of the distinctive qualities of 3D films, which began with the concept of ‘Telepresence’ by Marvin Minsky and was studied by Thomas B. Sheridan and Jonathan Steuar, we would like to seek for 3D cinema’s distinct esthetic possibilities and limitations in today’s rapidly changing cinema environment, by reconsidering 3D cinema and its effective directing technique as a medium of immersion, representation of reality, Total Cinema and Attraction through Mikhail Iampolski’s composition of cinematic space and empirical studies by Bernard Mendiburu, Carter Moulton, and Brian Gardner, etc.

입체영상기술의 활용과 변주를 통한 실험영화미학의 확장 가능성 고찰

최종한 ( Jong Han Choi ) 한양대학교 현대영화연구소 2012 현대영화연구 Vol.8 No.2

The age when artistic imagination for new image contents led to the development of image technology has come to an end. It`s been long since technology hardware has preceded contents supply with rapid development of a stereoscopic technology symbolized as 3D TV and 3D Film. In the age of technological excellence, it is true that many artists are overwhelmed by technology and are losing ground, and due to cost limitation and absence of education, even experimental film makers who should lead the drive to learn and use stereoscopic image techniques, have difficulty in pioneering a stereoscopic image aesthetics suitable for a new tool. Besides, it is noteworthy that a stereoscopic technology, which brought on an enormous change to media environment has become a practical challenge to be reckoned with for experimental film makers. It is clear that in image aesthetic aspect, we should shed new light on S3D technology, having depth, described as what we call Z-axis, distance, and volume added to an existing 2D moving image. This is because flat moving image and movement as multiple layered time were the aesthetic base of major existing experimental films, whereas new stereoscopic visual experience represented as distance and volume is completely different from how it was before. Also, when it talks about aesthetics of stereoscopic technology in an experimental film, an increase of inevitable ghost effect in experimental film, Multiful stereoscopic viewpoint, 360 degree holographic display and the collapse of its outer edge, the expansion of traditional screen idea, and human factor, as to different cognition and perception on stereoscopic image between individuals are indispensable variable. When studying experimental film aesthetics in terms of S3D image technological development, the key element is how the newly added technological foundation will have an impact on creation and appreciation of a modern experimental film. In addition, a study on how an experimental film will be turned and undergo anomie, when it meets the elements of space art represented as depth, distance, and volume, can be preceded for esthetic design of a new S3D stereoscopic image experimental film. This study let the Experimental film makers examine the possibility of aesthetic expansion and S3D stereoscopic image as new avant-garde image resources, considering S3D stereoscopic technology as resources of new image experiment, looking into the possibility of experiment cinematic use and variation through aesthetic keyword related to S3D stereoscopic image, and identifying distinct image aesthetics between the existing 2D and S3D image.

영화 영상 전공에서의 스테레오스코픽 3D 제작 교육 과정 연구

이찬복(Chanbok Lee) 한국콘텐츠학회 2010 한국콘텐츠학회논문지 Vol.10 No.6

2009년 개봉한 “아바타”의 선전이후 영화 영상 콘텐츠 계의 화두는 단연코 스테레오스코픽 3D 영상이다. 기존의 2D보다 두 배 이상의 예산과 인력이 소요되는 3D 시장은 현재 3D 디스플레이나 텔레비전과 같은 하드웨어는 활발하게 개발이 진행 중이고 리그나 셔터글라스 등 관련 제품 출시도 줄을 잇지만 정작3D 콘텐츠를 만들어 낼 인력 양성에 대한 방안은 아직 구체화된 것이 없는 실정이다. 3D 영상 특유의 복잡하고 까다로운 제작 과정을 염두에 둔다면 3D 인력 양성에 가장 적합한 곳은 대학이다. 입체 영상원리 습득과 휴먼 팩터, 3D 제작 실습, 2D에서 3D로의 컨버팅 등의 내용을 주로 하는 3D 제작 교육과정을 제안한다. 대학에서는 3D 제작과 관련된 모든 분야를 커버하려하기 보다는 각 대학의 규모나 기존 개설 전공을 고려하여 산학 연계 가능 분야, 융복합 분야 등으로 전문 분야를 택하여 깊이 있게 접근해야 내실 있는 3D 전문 인력 양성 결과를 얻을 수 있을 것이다. After its remarkable success, Avatar brought another way of creating cinematic story; the stereoscopic 3-D cinema. Comparing conventional 2-D filmmaking, you need twice as much of budget and manpower in 3-D filmmaking because of the complicated process and slow production speed. The 3-D hardware like 3-D TV and 3-D projector are already showing at the retail stores while 3-D filmmaking is still in veil, and no major educational institution is yet to start 3-D related education. As 3-D movies get popular and demand more 3-D filmmaking professional crew, educating 3-D filmmaking to 2-D based film students will improve their hiring rate in the market. The successful result of the box office showing 3-D films like Alice in Wonderland 3D and Titan 3D forecasts that there will be more demand on 3-D related jobs very soon.

한국 3D 영화 제작과정 분석

김익상(Ik-Sang Kim),서원태(Won-Tae Seo) 한국콘텐츠학회 2012 한국콘텐츠학회논문지 Vol.12 No.1

<나탈리>(2010)와 <7광구>(2011)를 통해 한국 3D 영화제작의 가능성이 확인됐다. 그러나 동시에 한국 3D 영화제작 환경에서의 다양한 기술적, 제작과정상의 문제점이 도출되었다. 본 연구는 <7광구>의 3D 영화제작 사례를 분석한 결과이다. 분석은 주로 기술적인 오류와 제작 공정상의 파이프라인에서 드러난 문제점에 주목하여 이루어 졌다. <7광구>를 통해 얻은 제작 경험과 시행착오를 분석함으로써 향후 제작될 한국형 3D 영화의 제작진들에게 실무적인 연구결과를 전달하는 것이 본연구의 목적이다. 분석결과 <7광구>는 기술적인 완성도뿐만 아니라 효율적인 제작 파이프라인 구축에도 실패한 것으로 드러났다. 그럼에도 불구하고 <7광구>는 한국적인 3D 제작공정을 능동적으로 구축하려했다는 점에서 긍정적으로 평가 받는다. <Natalie>(2010) and <Sector7> have showed possibility of Korean 3D cinema production. From the experience, many problems were deduced in terms of 3D cinema techniques and work-flow. this study is analysis of <Sector7>s production. The analysis is focused on the problems from the 3D cinema production and pipeline of <Sector7>. By making an analysis the experience, trial and error of <Sector7> production, it will be giving practical information and analysis result to staffs who are willing to create an next Korean 3D cinema. As a result of analysis, <Sector7> has failed to achieve technical accomplishment and to build effective production pipeline. Never the less, it is positively evaluated that it has tried to establish the foundation of Korean 3D cinema production.

국내 3차원 입체영상산업의 구조와 문제점

현승훈 ( Seung Hoon Hyun ) 한국디지털영상학회 2010 디지털영상학술지 Vol.7 No.1

The major topic in the digital image age will be 3D stereoscopic images. However, there have been not only experiments about 3D stereoscopic images and attempts to produce them for a long time, but also many viewers who have directly and indirectly experienced the realities of 3D stereoscopic images. The reason why people are showing such renewed interests in realizing 3D stereoscopic images with a long history now will be because of the growth of a new technical infrastructure mentioned as `digital`. However, the doubt still lingers through various experimental verifications whether digital technology will resolve all the parts of the development of 3D stereoscopic images called even the revolution of `Film and Video industry`. Though the prospects for the market of 3D stereoscopic images needs not be looked at negatively without a reason, there is a problem with an unquestioning attitude to accept everything about them optimistically with no conditions like this. Productions and screenings of 3D stereoscopic images not only took place before but will occur at the present time when images have been digitized and in the future actively. Nevertheless, the reason why a careful approach to 3D stereoscopic images is needed is that the industrial consideration for acceptance of steric environment according to human physiological characteristics is almost nil at present. Therefore, until the environments for watching 3D stereoscopic images in comfort without objection are realized, a steady study and industrial support will be needed.

3D Filmmaking for User-Selective UHD Stereoscopic Media System: A Case Study on the Film The Old, the New and the Other

Cha, Minchol,Hamacher, Alaric,Simon, Sebastien Korea Multimedia Society 2021 The journal of multimedia information system Vol.8 No.4

Despite skepticism about commercial potential, the stereoscopic 3D cinema is still a form that any filmmaker can choose to employ for its aesthetics and its immersive potential. Based on a haptic illusion, the stereoscopic media content requires a new perspective different from the principle of 2D media content in terms of creation and acceptance. This paper examines the technical and aesthetic issues of stereoscopic 3D film production from the perspective of today's emerging realistic and immersive media through a case study. One of the key factors for successful content creation and research and development in stereoscopic 3D cinema is the combination of artistic principles together with technical mastering of the new image technology. The purpose of this paper is to outline the principal challenges and research topics in stereoscopic 3D cinema through a case study of stereoscopic 3D pilot film production for the 'User-Selective UHD Stereoscopic Media Service Platform' of the ETRI (Electronics and Telecommunications Research Institute). This paper intends to examine stereoscopic 3D filmmaking workflow and production methodologies, as well as technical elements and aesthetic issues.

디지털 3D 입체 영화와 기술에 대한 연구

박종호(Park Jong Ho) 한국영화학회 2009 영화연구 Vol.0 No.42

The value of photography to mankind depends almost entirely upon the truthful records which it gives of different subjects as the eyes see them. Flat photography does not depict the subject as the eyes perceive it, but only as on eye does. with the coming of the Italian Renaissance, painters suddenly became concerned with depicting depth. Like other visual art, 3D Movie is the natural form of vision for human. Form early times people have been aware of binocular vision, that each eye sees a slightly different view of the same scene. We are in a transition time from 2D to 3D. 3D has existed for as long as the cinema itself. But all this will settle down in near future. To shoot a good 3D Movie, one must understand two 3D parameters. One is interaxial distance and the other is convergence. Interaxial distance is the distance between left and right camera lenses. By adjusting Interaxial distance, we can expand or contract the 3D volume of a shot. Convergence is amount our eye toe-in to align both images of an object; it gives us sense of our distance from an object. Although many 3D Movies have been produced, there are still problems in getting good 3D to the screen. 3D movie is the single largest driver and differential of installing a D-cinema system. 3D conversions priority for new installations: almost one half of digital screen count is 3D. 3D Live-action genres are following 3D animation's lead. Movies released in 3D generate two to three times the revenue of the same titles in 2D. We need to define what standards would be 3D stereoscopic content from Movie theater to consumer in the home. There are multiple types of distribution channels of 3D contents. 3D brings opportunities for growth and expanded revenue streams to industries other than the movie industry.

몰입' 개념으로 본 3D 입체 영화의 미래

김형래(Kim, Hyung-rae) 한국외국어대학교 외국문학연구소 2011 외국문학연구 Vol.- No.41

기술의 발달로 영화의 실감과 몰입효과는 더욱 강화되고 있다. 몰입은 어떤 데에 ‘빠져듦’을 의미하는데 영화는 이런 효과를 여러 장치들을 통해 증강시키고 있다. 특히 3D 입체 영화는 입체 환경을 제공함으로써 관객이 3D 이미지 속에 존재하는 것 같은 착각을 불러일으킨다. 그러나 이러한 몰입효과는 최근의 3D 영상뿐만 아니라 예술사에서 모든 시각적 예술이 노렸던 효과인지 모른다. 더욱이 짧은 영화사만을 살펴본다고 하더라도 이 같은 사실을 충분히 짐작할 수 있다. 영화가 기술의 발달로 무성에서 유성으로, 흑백에서 천연색으로, 표준스크린에서 와이드스크린으로, 아날로그에서 디지털로 발전한 과정을 살펴보면 이 모두 몰입효과의 증대와 깊은 관련이 있음을 알 수 있다. 몰입효과를 강화함으로써 관객은 더 영화관을 찾게 되고 이를 통해 영화산업이 발전할 수 있었다. 그런 점에서 영화사는 몰입의 영화사라 해도 과언이 아닐 것이다. 몰입 개념은 지금까지 주로 게임과 관련하여 다루어졌고 영화이론에서는 매우 단순하게 정의되었다. 따라서 본 연구자는 이 개념을 영화와 관련하여 세분할 필요성을 느끼고 영화사와 영화이론사를 통해 이 개념의 의미를 확장하고자 했다. 이에 그리피스의 연속 편집과 주제적 편집, 에이젠슈타인의 몽타주, 바쟁의 사실주의, 보드리의 장치이론, 캐롤의 인지주의이론 등이 몰입 개념을 중심으로 재고찰되었다. 결론적으로 본 논문은 영화에서의 몰입 개념을 크게 네 가지로 구분하였다. 감각적 몰입, 지적 몰입, 내화면 몰입, 외화면 몰입이 그것이다. 그런데 3D 입체 영화와 관련하여 우리는 지금까지 ‘감각적 몰입’ 효과만을 거론한 경향이 있다. 앞으로 3D 영화가 산업에만 매몰되지 않고 예술적 기능을 다하려면 앞서 언급한 다양한 몰입 효과를 어떻게 활용할 것인지에 대한 깊은 고민이 뒤따라야 할 것이다. This paper tries to explain what the Stereoscopic 3D Cinema looks like in the future. In conclusion, in the near future it will get sensually more absorbing skills and images, so that it can be more successful in the film industry. However, its future is not determinated only in this way, but there will be the other ways, to develop the artistic potentiality of the Stereoscopic 3D films. To make this, I think that we should understand well, what the concept of the immersive effect is. I have classified four sort of immersive crafts in the films: there are the sensual immersion, the intellectual immersion, the on-screen immersion, and the off-screen immersion. At first they have been defined, and then they have been found out and renamed in the film history. The film history and its theories tell us that they are none other than a history of the immersion. According to my research, in the classical film theory of editing, the continuity editing and the alternate editing of Griffith belong to the sensual immersion, and his thematic editing to the intellectual immersion. And the Soviet montage of Eisenstein belongs not only to the in-screen immersion but also to the intellectual immersion. In addition, the realism of André Bazin has to do with the off-screen immersion and also with the intellectual immersion. As we have seen, the films have basically the innate absorbing characters. A French film theorist Jean-Louis Baudry criticizes this characters with his apparatus theory. But in opposition to Baudry, the american philosopher of art Noël Caroll is critical of the apparatus theory and develops his cognitive film theory. However, it shows that the cognitive strategies of the film produces also inevitably the absorbing and immersive effect. It means that we must acknowledge unavoidably the immersive character of the films. Therefore, instead of that we criticize the commercial characters of the absorbing effect, we should to try to choice the best combination of the four categories suggested above, to make a good film.

3D 입체영화의 제작 기법 연구

김병철(Byeong-Cheol Kim) 한국멀티미디어학회 2013 멀티미디어학회논문지 Vol.16 No.8