지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Eastman Kodak is well-known for film manufacturer but in fact also has considerably contributed to the advancement of digital cinema. Thus, this study summarizes the progress of digital image processing technology vigorously led by Kodak in and around its Cineon System which was created to support the work flow of digital intermediate (DI) film production.
Then, the mechanism of Virtual Print Fee (VPF) and its application in the United States and Canada are examined. VPF is a key concept of digital cinema distribution and has been playing a crucial role in the rapid expansion of digital screens throughout the world. It is a kind of financing mechanism for supporting movie theaters to switch their existing film projectors to the new digital projection systems through redistributing the savings realized by distributors as replacing film prints with digital prints, the so-called Digital Cinema Package (DCP).
Lastly, the introduction of VPF, the deployment of digital projection systems and the distribution of digital cinema in the Korean film industry are closely investigated. Meanwhile, the problems which had already been occurred or posed in those rather abrupt processes are also discussed.
The purpose of this essay is to raise the issues related to ‘cinematic diversity’ to prevent a few giant corporations from monopolizing the market and to protect quite a few small businesses at risk of bankruptcy. It also expects to bring up some sorts of movements among the Korean filmmakers and others to keep the right of choice or the options both in production and distribution. One of the options may be the “celluloid” film.
Then, the mechanism of Virtual Print Fee (VPF) and its application in the United States and Canada are examined. VPF is a key concept of digital cinema distribution and has been playing a crucial role in the rapid expansion of digital screens throughout the world. It is a kind of financing mechanism for supporting movie theaters to switch their existing film projectors to the new digital projection systems through redistributing the savings realized by distributors as replacing film prints with digital prints, the so-called Digital Cinema Package (DCP).
Lastly, the introduction of VPF, the deployment of digital projection systems and the distribution of digital cinema in the Korean film industry are closely investigated. Meanwhile, the problems which had already been occurred or posed in those rather abrupt processes are also discussed.
The purpose of this essay is to raise the issues related to ‘cinematic diversity’ to prevent a few giant corporations from monopolizing the market and to protect quite a few small businesses at risk of bankruptcy. It also expects to bring up some sorts of movements among the Korean filmmakers and others to keep the right of choice or the options both in production and distribution. One of the options may be the “celluloid” film.
목차
1. 들어가며 : 필름이 사라진다
2. 디지털 시네마
3. 나오며 : 필름과 디지털의 공존
참고문헌
Abstract
참고문헌 (18)
참고문헌 신청
김건 / 2006 / 디지털 시대의 영화산업 / 삼성경제연구소
정헌 / 2012 / 영화 기술 역사 / 커뮤니케이션북스
Belton, John / 2008 / Painting by the Numbers: The Digital Intermediate / Film Quarterly 61(3)
Creative Industries Division / 2002 / Screen Digest Report on the Implications of Digital Technology for the Film Industry / Department for Culture, Media and Sport (United Kingdom), September
CJ CGV
정헌 / 2012 / 영화 기술 역사 / 커뮤니케이션북스
Belton, John / 2008 / Painting by the Numbers: The Digital Intermediate / Film Quarterly 61(3)
Creative Industries Division / 2002 / Screen Digest Report on the Implications of Digital Technology for the Film Industry / Department for Culture, Media and Sport (United Kingdom), September
CJ CGV
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UCI(KEPA) : I410-ECN-0101-2014-688-002402672