• Journal of Broadcast Engineering
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• v.14 no.6
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• pp.692-702
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• 2009

Real-time virtual studios which could run only on expensive workstations are now available for personal computers thanks to the recent development of graphics hardware. Nevertheless, graphics are rendered off-line in the post production stage in film or TV drama productions, because the graphics' quality is still restricted by the real-time hardware. Software-based camera tracking methods taking only the source video into account take much computation time, and often shows unstable results. To overcome this restriction, we propose a system that stores camera motion data from sensors at shooting time as common virtual studios and uses them in the post production stage, named as POVIS(post virtual imaging system). For seamless registration of graphics onto the camera video, precise zoom lens calibration must precede the post production. A practical method using only two planar patterns is used in this work. We present a method to reduce the camera sensor's error due to the mechanical mismatch, using the Kalman filter. POVIS was successfully used to track the camera in a documentary production and saved much of the processing time, while conventional methods failed due to lack of features to track.

• Korean journal of communication and information
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• v.29
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• pp.111-145
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• 2005

In this study, the problems In the current HDTV programming strategies were critically inquired into and reform measures were sought through in-depth interview with HDTV programming staff and program directors of the three major terrestrial broadcasting systems that are in their fourth year of HDTV broadcasting, and through analysis of the characteristics of HDTV programming. The analysis of this study showed that the time allocated to HDTV programs far exceeded the thirteen hours per week set by the Korean Broadcasting Commission. However, the percentage of HDTV programs broadcasted during the prime time was low, which as a result, limited the opportunity for the audiences to experience HDTV. furthermore, the low percentage of programs such as documentaries, sports, movies, etc. that are preferred by early adopters and through which the features of HDTV including high quality of picture, wide screen, etc. can be fully applied and shown did not appear to help in accelerating the popularization of HDTV In order to improve these problems, despite their having to bear the initial production costs, the broadcasting systems must come up with an aggressive strategies for the programming of documentaries, sports programs and dramas in order to strengthen the competitiveness in HDTV production and secure future adopters, and together with this, full support from the policy planning authorities and companies manufacturing electric home appliances, the other leaders in DTTB(Digital Terrestrial Television Broadcasting) transition, are necessary in order to promote the production of HD contents.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.85-95
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• 2021

Currently, we stand between computers as creative tools and computers as creators. A new genre of movies, which can be called a post-cinema situation, is emerging. This paper aims to diagnose the possibility of the emergence of AI cinema. To confirm the possibility of AI cinema, it was examined through a case study whether the creation of a story, narrative, image, and sound, which are necessary conditions for film creation, is possible by artificial intelligence. First, we checked the visual creation of AI painting algorithms Obvious, GAN, and CAN. Second, AI music has already entered the distribution stage in the market in cooperation with humans. Third, AI can already complete drama scripts, and automatic scenario creation programs using big data are also gaining popularity. That said, we confirmed that the filmmaking requirements could be met with AI algorithms. From the perspective of Manovich's 'AI Genre Convention', web documentaries and desktop documentaries, typical trends post-cinema, can be said to be representative genres that can be expected as AI cinemas. The conditions for AI, web documentaries and desktop documentaries to exist are the same. This article suggests a new path for the media of the 4th Industrial Revolution era through research on AI as a creator of post-cinema.

• The Southeast Asian review
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• v.26 no.3
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• pp.1-50
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• 2016

This paper aims to investigate the cultural conflicts and characteristics of anti-Korean Wave discourse taken placed among Southeast Asian countries. To do this, it takes Vietnam and Indonesia as the study cases, which have been showing a trend of anti-Korean Wave discourse as well as high popularity of Hallyu. As research methods, the paper analyzes both on-line discourses of anti-Korean Wave and the email audience interviews from both countries. The results show some significant differences between the two countries as well as the similarity that Anti-Korean Wave discourses have been actively produced and disseminated through on-line media. As for Indonesia, the Anti-Korean Wave discourse pivots on the elements clashing between Indonesia's religion and cultural values and Korean consuming culture. According to the Anti-Korean Wave discourse, K-pop contents and entertainers are criticized for damaging the society's morals and cultural identities based on Islamic rules and values. Thus, the sentiment of the Anti-Korean Wave is likely to lead to the cultural nationalism for the sake of their cultural identity. As for Vietnam, anti-Korean Wave discourse mainly consists of issues on enthusiastic K-pop fans' anti-social behaviors and generational conflicts which are presumed attributed as the chief factor of the Anti-Korean Wave. In the Vietnamese discourse, social elites and adults treat the enthusiastic K-pop fans as those who are in need of educational care or psychological therapy. Unlike the Indonesian case, anti-Korean Wave discourse in Vietnam criticized the K-pop and the performer's competence for being cheap sexy and incompetence. They also denounce Korean dramas for their trite, typical story lines, use of excessive emotion, and unrealistic nature. However, the two country's interview participants have in common both acknowledged that rather than considering the Anti-Korean Wave as an issue that needs to be resolved it should be embraced as a natural cultural phenomenon.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.263-288
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• 2019

Barrier-free films enhance accessibility to audiovisual image contents by providing specific information on screen and through sound so that people with vision or hearing loss can receive the same amount of information as those without disabilities and immerse themselves in the audiovisual images. This study pays attention to barrier-free audiovisual contents in relation to the cultural civil rights of people with vision or hearing loss in South Korea. While institutional efforts have been made in the 2010s to improve the access to audiovisual media of people with vision or hearing loss, the goal of enabling people with vision or hearing loss to fully enjoy all audiovisual contents at a level equal to the non-disabled has not yet been realized. Amid the lingering conflict between disabled groups and multiplexes that has lasted years, the global video streaming service Netflix has aggressively threatened the dominance of local multiplexes with the launch of its Korean service. As Netflix, which is subject to U.S. regulations guaranteeing the rights of people with vision or hearing loss, has produced original dramas and movies involving Korean production teams, the cultural civil rights discourse of the disabled has transitioned to the issue of the rights of cultural consumers crossing national borders in the era of globalization. Changes in the media environment raise the issue of civil rights guarantees in which disabled people enjoy the right to simultaneously watch movies and comment on movies by participating in a common discourse, equally with non-disabled people. The "right to be part of the audience for Korean cinema" for Korean deaf people, which has long been neglected, should also be considered as a cultural civil right that crosses the boundaries of language, nation and disabilities. This essay examines the current issues surrounding the right to cultural entertainment of people with vision or hearing loss in South Korea in conjunction with the contemporary trend of rapid changes in the media environment and the global spread of the movement for cultural civil rights of people with disabilities, and suggests the need for visual culture studies to take a serious step toward disability studies.

• Cartoon and Animation Studies
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• s.38
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• pp.177-194
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• 2015

This study that had been conducted two months by a research team of Pusan National University at the request of Korea Manwha Contents Agency in Dec. 2013 is about the statistical analysis on 'Korean Webtoon DB and its Flow Report' which resulted from the complete survey of Korean webtoons which had been published with payment in official media from early 2000 to 2013. Webtoon which means the cartoons published on web has become a typical type of Korean cartoons and has developed into a main industry since 2000s when traditional published cartoons had declined and social environments had changed. Today, it represents cultural contents in Korea. This study collected the webtoons officially published in media with payment, among Korean webtoons having been published from the early 2000s to Jan. Based on the collected data, it analyzed the general characteristics of webtoons, including cartoonists, the number of cartoons, distribution chart of each media, genre, and publication cycle. According to the data analysis and statistics, a great deal of Korean webtoons are still published in main portal websites, but their platform is being diversified and a webtoon's publication cycle tends to be shortened. In terms of genre, traditional popular genres, such as drama, comic, fantasy, and action, are still popular, and the genres of history, sports, and food are on the rise along with a social trend. Regarding webtoon application, such events as relay webtoon and brand webtoon, and a new type of webtoon featuring PPL commercialism appear. Such phenomena can realize the common profits of cartoonists, media, and ordering bodies, and are various trials to test the possibility of webtoons. In addition, what needs to pay attention on in the expansion of webtoons is increasing webtoons for adults. The study subjects are the webtoons published with payment, excluding free webtoons. However, this study failed to collect the webtoons published on the online websites already closed, and the lost information on cartoonists and their lost webtoons, and it is necessary to conduct a complete survey on all webtoons including free ones. Despite the limitations, this study is meaningful in the points that it categorized and analyzed Korean webtoons accoridng to official media, webtoons, cartoonists, and genres and that it provided a fundamental material to understand the current conditions of webtoons. It is expected that this study will be able to contribute to activating more research on webtoons and producing more supplementary data which will be used for the Korean cartoon industry and academia.

• Cartoon and Animation Studies
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• s.51
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• pp.293-319
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• 2018

Thanks to the advancement of the related technologies and equipment, today's video contents like movies, animations and soap operas are rapidly expanding their expressible cinematic imagination area. In order to fulfill the elevated visual expectations of audiences and realize exciting storytelling and fantastic world, the fusion of different techniques is actively used, and the reality for visual effects and image synthesis is increasing more and more. Accordingly, recent VFX-oriented movies using CG have a much more complicated production process than before. Therefore, the importance of Pre-visualization, aka Pre-vis is becoming bigger in the planning process for sophisticated design. Pre-vis means that the advance visualization for stories or directing ideas in the planning process before starting production of movies or animations. 3D animated Pre-visualization realizing directors' abstract and ambiguous ideas in 3 dimensional environment in advance is, as a powerful means for visual storytelling, briskly used focusing on the VFX film industry on which the present CG is broadly used, and the role of Pre-vis throughout productions has increased compared to the past. The studies, however, on the role and utility of Pre-vis are not enough. Therefore, this study was conducted on the role of Pre-vis used for present VFX movie productions using the examples of 3D animated Pre-visualization production in which the researcher of this study participated. In this study, the role of the Pre-vis that is subdivided presently, is divided into and 3D animatics and their each role is analyzed with the example images. Through this, the characteristics that Pre-vis should have are clarified and the concept of the advantages and utility led by the use of Pre-vis in productions is strengthened. The goal of this study is to induce active uses of Pre-vis throughout productions after forming consensus about the various roles of Pre-vis and their utility.

• Cartoon and Animation Studies
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• s.40
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• pp.211-242
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• 2015

Recently, the shrunk influence of printed cartoon has been superseded by the influence of Webtoon in the comic industry. Webtoon has gained popularity and interest by being served on internet quickly and easily. Their novel material and sympathetic topic have made it possible for many Webtoons to be reproduced into tv dramas and movies, so, the influence of them has been increased as the copyright industry of culture contents industry. The increasing interest for Webtoon has induced academic studies for the subject. Among the various studies in need on Webtoon, the most important study topics in need are 'Story' and 'Quality' which are criterion for readers to choose Webtoons to read. To create the Webtoon that are great at 'Story' and 'Quality', the study on plots should be preceded, which recast episodes organically through a logical causal relationship. Therefore, in this study, the plots of Webtoons have been analyzed through Rescue plot in and the Riddle plot in selected from the Kang Full's Webtoon series, 'mystery psychology horror season', which are evaluated as the great work at 'Story' and 'Quality.' The analysis was implemented based on Tobias' theory which suggests 'the characteristics of plot' and '8 principles for good plot.' First, Kang Full's webtoons were analyzed through 'the characteristics of plot' and '6 principles for good plot' which is modified from '8 principles of good plot' based on Tobias' theory. Applicability was checked if Tobias' theory could be applied to Kang Full's Webtoon checking through the scenes and contents of the Webtoon. (1) Tobias' 'the characteristics of plot' could be applied to both Rescue plot in and the Riddle plot in . (2) Among '6 principles for good plot', 5 principles are shown in The Lighting Store and all of the 6 principles in Neighbor. The result shows that Tobias theory could be applied to the plot of Webtoon. The fact that Kang Full's Webtoons are composed in a formulaic form could be identified through 'the characteristics of plot' and '6 principles for good plot' shown in Rescue plot in and the Riddle plot in .

• Journal of Intelligence and Information Systems
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• v.27 no.2
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• pp.17-32
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• 2021

Speaker recognition is generally divided into speaker identification and speaker verification. Speaker recognition plays an important function in the automatic voice system, and the importance of speaker recognition technology is becoming more prominent as the recent development of portable devices, voice technology, and audio content fields continue to expand. Previous speaker recognition studies have been conducted with the goal of automatically determining who the speaker is based on voice files and improving accuracy. Speech is an important sociolinguistic subject, and it contains very useful information that reveals the speaker's attitude, conversation intention, and personality, and this can be an important clue to speaker recognition. The final ending used in the speaker's speech determines the type of sentence or has functions and information such as the speaker's intention, psychological attitude, or relationship to the listener. The use of the terminating ending has various probabilities depending on the characteristics of the speaker, so the type and distribution of the terminating ending of a specific unidentified speaker will be helpful in recognizing the speaker. However, there have been few studies that considered speech in the existing text-based speaker recognition, and if speech information is added to the speech signal-based speaker recognition technique, the accuracy of speaker recognition can be further improved. Hence, the purpose of this paper is to propose a novel method using speech style expressed as a sentence-final ending to improve the accuracy of Korean speaker recognition. To this end, a method called sentence sequencing that generates vector values by using the type and frequency of the sentence-final ending appearing in the utterance of a specific person is proposed. To evaluate the performance of the proposed method, learning and performance evaluation were conducted with a actual drama script. The method proposed in this study can be used as a means to improve the performance of Korean speech recognition service.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.9-37
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• 2020

The present study examines the transnational "Hallyu" (the Korean wave) phenomenon after the 1990s in the context of a solidarity movement of East Asian women. It also focuses on the passion for the world stage given the cultural industry was supported by the government as a "chimney-less factory" during the IMF financial crisis. Over the past twenty years and through Hallyu 1.0, Hallyu 2.0, and Hallyu 3.0, "K-entertainment" has been advocated, as a concept that encompasses K-drama, K-pop, etc. in the cultural industry. Furthermore, everything Korean, through K-culture, is being put at the forefront. However, there is insufficient discussion regarding the actions of the women who led the Korean wave. This paper examines the female fans and girl groups who played leading roles in the rise of popular culture and its transnational prominence within the context of the female agency and female labor involved. The lack of acknowledgment of their roles is linked to the current erasure of the discussion on the female youth. Discussion on "woman" is still limited to the domain of reproduction in the generational discussion that has replaced the existing nation-state or class led discussions in the current era of neoliberalism. However, since The reboot or the popularity of feminism in recent years, the interest in the female narrative, in works such as 'Kim Ji-young, Born 1982' has been expanding beyond East Asia to the rest of the world. Just as Hallyu was created by women in the beginning, there is a new trend in which women across national borders are joining in solidarity. As such, the present study attempts to prove that the female fan, girl group, and female youths must be one meta-narrative through a feminist reading, rather than individuals with separate identities.