헐리우드에서의 디지털 영상산업의 현황과 전망

Presentation on theme: "헐리우드에서의 디지털 영상산업의 현황과 전망"— Presentation transcript:

1 헐리우드에서의 디지털 영상산업의 현황과 전망
디지털영상세미나 2002 제1차 컨퍼런스 헐리우드에서의 디지털 영상산업의 현황과 전망 일시 : (화)~3.27(수) 오후 1:00~5:00 장소 : COEX 컨퍼런스센터 330호 주최 : 한국소프트웨어진흥원(KIPA), 한국첨단영상기술협회(CATA) 후원 : 국제게임개발자협회(IGDA), ITRC 게임애니메이션연구센터

2 Program 구 분 시 간 내용 및 주제 강 사 1일차 3월26일(화) 13:00∼13:20 등록 및 입장
13:20∼13:25 개회사 진흥원 컨텐츠사업단장 13:25∼14:10 참가자 소개 및 기조강연 - 헐리우드에서의 디지털 영상 Kai Hong 14:10∼15:00 헐리우드의 디지털영상에 대한 비젼과 전략 - James Cameron의 Earthship.tv 활동을 중심으로 John Skeel 15:00∼15:15 휴식 15:15∼16:05 디지털영상기술의 발전과 전개현황  -Full-Motion-Live-Web-Video Streaming : Satellite Delivered Remote Broadcast to the Internet Chris Steenolsen 16:05∼17:00 Panel Discussion / Q&A Kai Hong,

3 Program 구 분 시 간 내용 및 주제 강 사 2일차 3월27일(수) 13:00∼13:20 등록 및 입장
13:20∼14:10 컴퓨터게임과 영상산업의 Convergence John Skeel 14:10∼15:00 Pre-production Development - 스토리텔링 (Script) 을 중심으로 Tracy Reiner Giovanni Agnelli 15:00∼15:15 휴식 15:15∼16:05 Interactive Storytelling - 스토리텔링과 새로운 영상미학에 대하여 Kai Hong 16:05∼17:00 Panel Discussion / Q&A

4 강사 소개 John Skeel Chris Steenolsen Tracy Reiner Kai Hong
미 EarthShip.tv President & CEO 컴퓨터게임 업체 Amiga社 설립 Electronic Arts, Activision, Accoldade, DreamWorks/PDI 애니메이션 디렉터 영화 타이타닉 Executive Producer Chris Steenolsen 미 EarthShip.tv 기술개발, 전략기획 담당 부사장 영화각본, 프로듀서, 감독 유명가수 (Madonna, Michael Jackson 등) 뮤직비디오 영상담당 칼리포니아, 에일리언 III 등 특수효과 담당 Tracy Reiner Int’l Manifesto Film 대표, 영화배우 독일영화협회 컨설턴트 Kai Hong 시나리오, 스크린플레이작가 전 MIT 교수 SIAT USA Director Giovanni Agnelli Int’l Manifesto Film 공동대표

5 본 세미나의 취지 오늘날의 헐리우드는 세계 엔터테인먼트 산업을 완전히 장악하고 있다. 세계 어느나라를 가더라도 각 가정의 텔레비전 스크린이나 극장 또는 비디오샵에서 헐리우드에서 기획,제작한 영상물들이 넘쳐나고 있다. 헐리우드의 엔터테인먼트 산업이 일년에 벌어들이는 수익이 미국의 자동차산업과 전자, 컴퓨터산업을 다 합친 것의 2배가 된다고 한다. 1995년경만 해도 실리콘밸리의 디지털기술의 발전으로 영상제작과 전달 방법이 바뀌게 되어 헐리우드까지도 실리콘밸리로 옮겨지게 된다면서 샌프란시스코의 소마(SOMA) 지역을 Siliwood (Silicon plus Hollywood)라고 까지 불렀었다. 그러나 2002년 지금 헐리우드의 영향력이나 경제력은 조금도 줄어들지 않았고, 오히려 실리콘밸리의 디지털 영상기술자들이 속속 Los Angeles로 옮겨가는 경향을 보게 된다. 헐리우드는 전통적인 영상에서 디지털시대의 영상엔터테인먼트산업의 미래를 미리 나름대로 예측하며 준비하여왔다. 헐리우드가 한참 사양길에 들고, 실리우드가 새롭게 등장한다고 떠들때 헐리우드의 실력자인 스필버그와 오티즈는 드림웍스를 세워 애니메이션 영화를 만들기 시작했다. 헐리우드에서 스필버그에 버금가는 실력자로 많은 사람들은 제임스 카메론을 든다. 그는 헐리우드사상 최고의 수익을 올린 타이타닉이라는 영화를 만들었으며, 이 영화에서는 이미 예산의 큰 부분이 디지털 기술을 이용한 Special Effect를 제작하는데 투입되었다. 제임스 카메론은 이미 80년대 후반에 과학공상영화에 속하는 터미네이터라는 대 히트영화를 만들었고, 그 속편이 Terminator II 역시 크게 흥행에 성공한 영화였다. 그는 Terminator III : The Rise of Machine을 2003년에 개봉할 예정이다. 즉 그는 스필버그와 다르게 디지털기술의 도래에 대응하기 위해서 스필버그처럼 애니메이션 스튜디오가 아니라 디지털영상제작과 전달 (Digital Production and Delivery)에 초점을 맞추게 되었고, 바로 그런 이유때문에 온라인 회사인 Earthship.tv 를 2000년에 John Skeel 과 공동으로 설립하였다. John Skeel은 원래 실리콘밸리의 초창기에 디지털기술개발에 참여한 인물중의 하나로 Amiga라는 최초의 컴퓨터게임기기 회사의 설립에 참여하였고, 소프트웨어개발에도 참여하다가 애니메이션 영화제작을 한 인물로 헐리우드와 실리콘밸리가 만나는 바로 그 중심적인 위치의 인물이기 때문에 제임스 카메론과 의기가 투합된 것이었다. 헐리우드와 실리콘밸리, 즉, 디지털기술과 영상산업이 만나는 새로운 실리우드를 그리는 회사의 실례로 바로 제임스 카메론의 Earthship.tv 를 들 수 있을 것이다.

6 그렇다면 지금 디지털컨텐츠 산업에서 일류국가를 지향하는 한국의 종사자들이 헐리우드에서는 어떻게 디지털컨텐츠 산업의 미래를 그리며 또 그 분야에서 계속적으로 세계시장을 장악하려는 전략을 세우고 있는지를 배울 필요가 있다. 그런 의미에서 지금 바로 이 시기에 헐리우드와 실리콘밸리의 교두보를 자처하는 Earthship.tv의 John Skeel CEO가 한국을 방문하여 디지털컨텐츠 산업에 종사하는 사람들과 헐리우드의 생각을 나누게 된 것은 의미있는 일이 아닐 수 없다. 한국에는 이미 세계적인 컴퓨터그래픽기술을 보유한 사람들이 많이 확보되어있고, 또한 게임분야만 해도 세계적인 수준에 도달할 정도로 놀라운 발전을 보이고 있다. John Skeel 은 디지털영상과 게임의 만남을 통한 새로운 엔터테인먼트 장르가 개척되어야 한다는 비전을 갖고 있다. 미국에서 미래의 가장 큰 시장은 순수한 영화나 게임이 아니라 영상과 게임과 스토리가 함께 어우러진 새로운 장르가 될 것이라는 것이다. 그런 의미에서 헐리우드에서는 스토리텔링이 가장 중요한 부분의 하나로 인식되고 있다. 헐리우드의 가장 막강한 축을 구성하는 카메론 캠프의 John Skeel CEO와 Chris Steenolsen 부사장에 이어 영화배우이자 스크립트 개발회사인 Int’l Manifesto Film의 설립자인 Tracy Reiner와 Giovanni Agnelli, 희곡작가이자 스크린플레이작가로 전 MIT교수인 한국인 홍가이 박사가 스토리텔링과 새로운 영상미학에 대해서 이야기를 풀어갈 것이다.

7 헐리우드의 디지털영상에 대한 비전과 전략 / 디지털 영상기술의 발전과 전개현황
헐리우드의 디지털영상에 대한 비전과 전략 / 디지털 영상기술의 발전과 전개현황 Mar 26, 2002 By John Skeel & Chris Steenolsen

8 Introduction John Skeel President, EarthShipTV
Digital Entertainment Production Animated film and television Live action production Broadband Internet Today I’d like to talk about recent developments in digital entertainment production focusing on animated film and television, live action production, particularly relating to large format, and broadband internet.

9 Recent Projects Roughnecks: The Starship Troopers Chronicles
James Cameron’s Ghosts of the Abyss EarthShipTV: On Expedition with James Cameron’s Ghosts of the Abyss I’m going to cover three recent projects that were on the leading edge of these developments. Roughnecks: The Starship Troopers Chronicles is a computer rendered animation series produced by Columbia Tristar Children’s Programming. Ghost’s of the Abyss was James Cameron’s return expedition to Titanic to document the wreck in 3D stereoscopic large format. The expedition included an EarthShipTV crew who streamed live from the ship daily to the internet.

10 Troopers and Ghosts Project scope and structure Challenges Work flow
Tools and processes Things that didn’t work Things that did For each of these projects I’ll discuss: And hopefully, at the end I’ll be able to pull it all together into something that makes sense.

11 Digital Animation Film Market
Strong growth in last six years Over $2.7 billion (US) ticket sales Strong merchandising properties Fueled a growing digital animation television market Computer rendered animation, particularly in the film industry, has been around less than two decades, and as a major box office release since only In that short time the industry has generated several strong digital studios producing more than $2.7 billion in ticket sales. That’s an average annual market of more than $448 million, and this figure is growing rapidly. These properties have gone on to produce billions more in merchandising and spin off product. The success of these films has demonstrated the strong market demand for this particular art form. Following on these successes, a few companies have made forays into production for television.

12 Major Releases The major releases in this market have produced, for the most part, excellent returns on investment, despite escalating budgets. There is one problem child in this list but its failure in the marketplace had little or nothing to do with the quality or format of the imagery. Ice Age’s record setting opening weekend presages a total gross somewhere near Monsters, Inc. Combine this with the efficient budget and you have a strong third contender in this market. Before Ice Age, Blue Sky Studios was a medium sized effects and commercial producer with a staff of 65. Sixteen months and one film later they’re on a list like this.

13 Film vs. Television Costs
The success of these films and decreasing equipment costs has spurred television producers to move this art form to the small screen. Projects like Reboot, Voltron, Beast Wars, Starship Troopers, and Max Steel have broken into this new territory. Like all television, the challenge is in the budget and schedule. Large budget films allow more time at the critical stages for story and character development namely script, storyboard, and character acting animations. A little more time for model textures and lighting at render time doesn’t hurt either. Starship Troopers generally ran between $10,000 and $15,000 per minute for finished animation depending on how many new elements were introduced or the amount of complicated action per episode.

14 Television Advantages
Small screen means faster renders and smaller storage space requirements Cheaper, off the shelf tools Large talent pool The production methodologies between digital film and television are similar, so television production must find ways to cheat the system because the amount of work is large and time to develop small. The first advantage is the size of the display medium. Formatting for a small screen reduces equipment costs as render times are faster and storage space requirements significantly smaller. Television units usually work in the NT operating environment. Equipment is cheap, readily available and can be assembled by the studio as needed. Also, using desktop PCs and software means a larger talent pool to choose from as access to these programs and operating system is wide spread. Film companies like to use their own proprietary software often running on Unix which, though impressive, requires constant maintenance by studio staff and each new hire must be trained from scratch. PLAY STARSHIP TROOPERS REEL

15 Roughnecks: The Starship Troopers Chronicles
40 episodes x 19.5 minutes 720 minutes total unique animation Estimated 18,000 shots 12 months Starship Troopers was an ambitious project from the beginning. With less than a year for production and only six months till air date from its green light, the project had to transition from a 2D traditional design to 3D, ramp up in equipment and personnel and invent some solutions along the way. The order was for 40 episodes at 22 minutes each. This number was later reduced to 19 ½ minutes to facilitate slipping schedules. We also made extensive reuse of existing footage in 4 episodes, so the total unique animation count came in at 720 minutes.

16 Organization The project was initiated through Columbia Tristar’s Children’s Television Programming division. The 3D modeling and animation was split between 4 separate studios as no single studio at that time was robust enough to handle an order of this size. Also, since this was a new and arguably risky area, management didn’t want to put the whole project in a single location. Organization and efficient reuse of assets was a challenge with a structure of this type.

17 Responsibilities CTCP 3D Studios Script Paper design Storyboards
Character, prop, sets Storyboards Sound reel Exposure sheets Audio Editorial 3D Studios Story reel Models, articulated Motion capture Final shots with heads and tails Assistance to other studios CTCP tried as much as possible to use their existing 2D pipeline making adjustments for 3D in the areas of design and less detailed storyboards. Also, their very talented editorial department came to the rescue on several occasions fixing problems in post that would’ve been to expensive or disruptive to the schedule. Normally, CTCP would’ve been responsible for the story reel as well, however, in order to put as much of the budget in the hands of the 3D studios as possible, this task was delegated to them. Storyboards generally contained 450 – 600 shots each with many reaching as high as 750. This was a constant struggle to keep these numbers low. approval process

18 Challenges Ramping Training 2D personnel
Hardware: render engines, workstations Artists: Large numbers quickly incorporated Training 2D personnel Designers to design for 3D 2D story-boarders to visualize 3D 2D directors / producers to look for 3D errors and understand scope of requests There were many challenges facing this project, not the least of which was that no one had ever done anything like it before. The quality and detail of images combined with the number of episodes meant huge logistics problems from the start. Foundation Imaging and Flat Earth both had to ramp up extensively in hardware and personnel. In order to get started as soon as possible, Foundation stripped it’s render farm and created makeshift workstations for the first few months of the project. CTCP staff artists were used to designing for the 2D market. This meant a change in thought processes for them as a typical 2D design is not very useful in 3D modeling. 2D allows for perspective cheats and a 3D modeler finds a 3 perspective blueprint type design the most effective. Also, the storyboard department was used to creating very detailed, nearly finished boards and this was not necessary in a 3D world where the model is always on spec. The board schedules were shorter than usual and the only way to meet these deadlines was to take the shortcuts 3D provides. Even so, many board artists found this a hard transition to make. The producing staff on this project were excellent and very talented, but it was their first project in 3D and some adjustments were necessary. 3D is a little like an open candy store. The exciting possibilities are tempting but can raise havoc with a tight schedule.

19 Challenges 3D animators working with EFX shot methodology
Coordination between multiple 3D studios and CTCP On the 3D studio side, most of the artists had come from the movie and television effects business with some game developers thrown in. Their usual working style was to think in terms of shots. This proved to be to slow and mass production techniques that more resembled live action processes were required. And, to take advantage of one of 3D’s greatest benefits, the ability to reuse models once they’re created, meant moving assets between all of the studios involved and keeping track of what had been created and where it was at any given time. CTCP and the studios had dedicated personnel for this task.

20 Tools NT operating system Lightwave with plug-ins
Hyper Image: 3D Studio Max Motion Analysis motion capture system Adobe Premier Spyder Starship Troopers was created with Lightwave 6.0 on an NT environment with one exception: the HyperImage studio. They were running 3D Studio Max. Early on we were concerned about moving assets over from LightWave, but to their credit this was accomplished fairly easily. We did have problems matching the two render engines however, and could never get Max to match the subtle shading of LightWave. You wouldn’t want to mix shots from the different render engines within the same show. We made heavy use of motion capture, in fact the capture studio ran 40 to 50 hours a week for the length of the project. Facial animation, lip sync, and detail acting were all done by hand. Story reels were edited on PC workstations running Adobe Premier. And, a proprietary software package, called Spyder, was used to turn idle workstations into part of the render farm during non-work hours.

21 Things That Didn’t Work
Asset database Compositing Key frame animation Some of the ideas we had going into the project turned out to be more work than they were worth or just didn’t work at all. Given the large number of assets in the form of models, animations, and effects, it seemed a good asset tracking database would be invaluable. The idea was to keep on top of all the assets in their various stages of construction and have a list from which to work when reusing assets in later episodes. This turned out to be more work than it was worth. Though we had reams of information about what model was used in which episode, etc. it turned out that simple spreadsheet lists, efficient directory structures, and a good memory worked just as well. Towards the end of the project, the database was abandoned. Though we used composite programs such as After Effects to combine elements, we ended up not relying on this as much as originally planned. Scenes tended to just look better, more alive, if they were rendered as a complete scene rather than in pieces. Many elements such as the bugs and heavy gear were animated by key-frame. The more complicated models had procedures that automated common animations such as a bug walk cycle. However, the bulk of the animation centered around the human characters and the motion capture system was essential for keeping on schedule. Studios that relied too heavily on key-frame could not keep pace with the hectic schedule.

22 EarthShipTV On Expedition with: James Cameron’s Ghosts of the Abyss
And now for something completely different: Digital technology is transforming production in the live action arena as well. In 2001, James Cameron’s EarthShip Productions led an expedition to Titanic to film the wreck in large format stereoscopic 3D.

23 Ghosts of the Abyss EarthShip Productions EarthShipTV Walden Media
Large format stereoscopic 3D documentary on Titanic 90 minute direct to VHS/DVD version EarthShipTV Broadband Internet daily coverage of the expedition Extra coverage for documentary With Walden Media Interactive DVD Foreign television The film, designed for exhibition in IMAX theaters equipped with 3D digital projection systems, was shot with a specially built 24p Hi-Def digital camera. The interior of the ship was imaged with custom built remote-operated-vehicles, and the wreck was lit with a specially designed lighting rig called Medusa. The expedition was web cast via broadband Internet by EarthShip Production’s sister company EarthShipTV. This was our first attempt at a company strategy we call the buffalo theory, named after the Native American custom of leaving nothing to waste by using every part of the buffalo. Our strategy is to shoot projects with the highest resolution, in this case stereoscopic 3D, and then harvest from that footage to many display mediums from large format to Internet.

24 Reality Camera System™
Stereoscopic 3D 2 x 24p Hi Def Digital Video cameras Specialized lens Imaging planes separated from recorders by fiber cable EarthShip Productions developed a number of specialized tools for the production. Foremost of these was the Reality Camera System, a digital large format 3D camera. This is essentially, two hi-def digital cameras with the imaging planes separated from the recording mechanisms and mounted side-by-side at the proper 2.75 inch inter-ocular distance. The lenses had to be modified and specially ground to fit that close together. The end result was a 3D camera that could mount on body and vehicle steady-cam rigs and was small enough to carry on the shoulder or…

25 The RCS in its underwater housing
…Mount on Mir submersibles. The underwater housing which allowed full pan and tilt was designed by Pace Technologies. The Reality Camera System was an idea dreamed up by James Cameron and built by Sony and Jim’s brother Michael Cameron.

26 The Bots ROV Video camera Infra red camera Independent light source
Independent power Fiber optic tether Full ocean depth Mike Cameron’s company Dark Matter also built a pair of custom deep water ROV’s (Remote Operated Vehicles.) As you can see they’re about the size of a microwave oven. These bots are rated for full ocean depth and have a range of 2000 – 3000 feet. Because they use fiber optic cable which they spool out as they move, they don’t have to return on the same path of entry, providing a much greater freedom of movement. They carry both video and infra red cameras, and their propulsion system pushes water in a way that minimizes the amount of dirt or debris that is kicked up. These bots allowed us to image about 90% of the interior of Titanic. Previously only a small portion of the ship’s interior had been explored because of the limited range of most ROVs.

27 EarthShipTV’s Job Web-cast live daily diving events Interviews
Discoveries Ship life EarthShipTV took web viewers along on this expedition by streaming from the boat daily. We covered the dives and recoveries, talked with the historians and researchers on the boat and put our cameras behind the scenes as the film crew shot the documentary.

28 EarthShipTV Connectivity
IntelSat 706 Internet 360K Up T1 Down T1 Keldysh El Segundo, CA We used a continuous link via satellite to pull the data files from the ship and send back. The system also supported telephone via Internet. The signal came down in a ground station in Houston Texas where we had a dedicated T1 line to our studio facility in El Segundo California. From there we added interactivity and posted the final episode to the web. From the ship to viewing on the website could be done in about an hour or less but we tended to take more time to polish the final product as much as possible. At the height of the expedition we were putting up as much as six hours of new video a day. Houston, TX T1

29 EarthShipTV Away Team, Keldysh
2 HD Cameras Mac G4 Final Cut Pro 2 DV Cameras 1 Mini DV 10 Dome Cameras Main Server Satellite The team on the boat had a variety of digital cameras and a full edit suite. The set up allowed them to create a live show on the fly with a switcher or produce finished, edited pieces and run the final result through the same encoder system. Our web site schedule called for show segments to be 14:25 minutes in length so show files tended to be about 35 Megabytes in size. Multiplex Switcher Encoder

30 Challenges Multiple vendors in the connectivity chain
Integrating with the EarthShip Film Team Obviously, there were many challenges to this project, technical, financial, and organizational. The two biggest hurdles were in shaking out the bugs in the satellite to Internet chain, and working with the EarthShip Productions crew in a way that did not interfere with their work and convinced them they could trust us in the way we would portray them to the world. PLAY EARTHSHIP FOOTAGE

31 The Importance of Pre-production Development
Mar 27, 2002 By Tracy Reiner

32 Pre-production Development
Pre-production Development is the stages required to develop a quality screenplay from the initial idea into a full-fledged drama with power and elegance, and the last, but not the least, the commercial allure (by which is usually meant the film’s appeal to the prospective audiences.)

33 Process of Pre-production Development (1)
Initial Film Idea, articulated into a two or three page synopsis Research on the topic, accumulating as much visual, auditory and textual materials on the subject as possible Instead of beginning to write a screenplay at this point, one may prepackage the material into a CD that include all the relevant material from the phase 2) and into a presentation CD-ROM

34 Process of Pre-production Development (2)
Using the presentation material (the package), get financiers interested in the project. Working on the Full Screenplay by hiring right script writers. Reading is important Focus Group Meeting Revise and Finalize the Shooting Script

35 Examples “DNA for Tomorrow’s Movies” developed by Etopia Film
Girls and Cons Torch Meiguo “Apollo 13” “A League of Their Own”

36 Interactive Storytelling
Mar 27, 2002 By Kai Hong

37 Introductory Preamble
Only 7, 8 years ago, in the early 90s, Digitech gurus thought digital technologists would take over Hollywood, coining such words as Siliwood (silicon + Hollywood). Hollywood was going to move north to San Francisco because computer graphics would play the central role in all entertainment businesses like film and music recording. After 8 years, we realize that the predictions of Technological take over of the film, TV and music entertainment business did not happen. On the contrary, the importance of the story-telling as the central ingredient of any entertainment has been reaffirmed. Even in computer games, they are looking to integrate more engaging story-telling into the content of the game. Hollywood has triumphed over Siliwood of San Francisco's Multimedia gulch.

38 Why Storytelling? It may be very possible that story-telling is one of the fundamental defining features of a human being. To live as a human being is to be constantly engaged in story-telling. Because we are all story-tellers, regardless of whether we are good or bad at it, we respond to good and bad stories told by others.

39 Digital Storytelling Interactivity as its central feature. What is the impact of digital technologies (like multimedia graphic environment and the web) on narrative (story-telling) conventions? Story / Plot Spectatorship / Active participants Virtual Environments and the Creation of Alternative Story-Space

40 Computer Game as Interactive Drama (Film)
Defining a new medium that is neither modified game or modified movie The gamers and the filmmakers; Defining Interactive Drama;

41 Screen Play versus Digital Storytelling (interactive script)
(cf. Interactive Design as Drama) Developing Interactive Script from a more traditional narrative; Game designers’ attempt to design an online game based upon a story in NOSTOI (Kai Hong’s storytelling in dramatic forms of writing);