• Archives of design research
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• v.16 no.3
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• pp.263-272
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• 2003

Motiongraphics is not short film and has a special communication method characteristic of design. As graphic design needs space-composition, motiongraphics requires time-composition. In the 1920's, artists belonged Bauhaus in Germany tried to realize time-composition in the plans for abstract animation. At that time the russian film director Eisenstein experimented with moving image composit on, creating new meanings through the montage of heterogeneous images. In the digital era of today, motiongraphics is composed of such various elements as moving image, photo, illustration, typography, etc. The editing in montage film is one-dimensional. Meanwhile, motiongraphics of these days consists of a lot of layers, composing various elements by editing. Motiongraphics needs time structure and visual rhythm as well as scenario or storyboard for time composition. The principle of time composition in motiongraphics ist similar to that of musical composition. If we compare the time composition of abstract animation or montage film with the melody in a solo, time composition for motiongraphicf is like a symphony. Various composing elements are developed under different tempos at the same time.

• Proceedings of the Korean Information Science Society Conference
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• 2011.06b
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• pp.346-349
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• 2011

SSD를 멀티미디어 스트리밍 서버 환경에서 저장매체로 사용하기 위한 연구가 최근 활발하게 일어나고 있으나, 아직 비싼 가격을 갖는 SSD의 단점으로 인해 HDD를 온전히 대체하는 방향으로는 진행되지 못하고 있다. 그 대안으로 HDD와 함께 사용하면서 상대적으로 더 빠른 읽기 성능을 활용하여 읽기 캐시로 사용하고자 하는 방향으로 진행되고 있다. 본 논문에서는 SSD를 HDD의 읽기 캐시로 사용하면서 기존의 방식과는 달리 데이터의 전부를 SSD 또는 HDD에 두는 모델을 사용하지 않고, 멀티미디어 데이터의 일부를 SSD에, 그리고 나머지를 HDD에 두는 모델을 제안한다. 이 모델은 스트리밍 환경을 고려하여 빠른 초기 반응을 필요로 하는 멀티미디어 데이터의 앞 부분을 더 빠른 속도의 SSD를 통해 서비스하고, SSD가 서비스를 수행하는 동안 HDD에서 나머지 부분을 서비스함으로써 빠른 초기 반응 시간과 함께 두 저장매체 모두의 대역폭을 최대로 사용할 수 있는 방법을 제안한다.

• The KIPS Transactions:PartD
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• v.15D no.5
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• pp.691-698
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• 2008

Web designers generally use a story board, a site map, a flow chart or the combination of these for representing web sites. But these methods are difficult to represent the entire architecture of a web site, and may be not adaptive for describing the detail flow of web pages. To solve these problems to some degree, there were works using EMFG(Extended Mark Flow Graph) recently. However the conventional EMFG representation method is not adaptive to represent the dynamic interface of web sites because that cover only the static parts of a web site. Internet utilization is rapidly growing in our life and we cannot imagine the worlds of work, study and business without internet. And web sites recently have not only more complex and various architecture but also web pages containing the dynamic interface. Therefore we propose the representation method of these web sites - for example, a web site containing varying pages with time and varying page status or contents with mouse operations - using EMFG. We expect our work to be help the design and maintenance of web sites.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.11
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• pp.437-442
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• 2016

The marriage between music and film, both temporal art forms, demands that the inherent aspects of note in each medium are brought into correspondence within a dramatic context. In film-making, the most crucial and difficult problem a film composer faces is finding the music that seems absolutely right for the film and its characters, sequences and dramatic lines. When writing a film score, composers become musical dramatists; some have a special instinct that enables them to find the right kind of melodic line, orchestral texture, rhythmic device and musical style to bring out what they intuitively recognize as the essential aspect of the drama. In this study, several examples are cited - Alex North, Hugo Friedhofer, Bernard Herrmann and David Raksin - that underline this kinetic function of music in film. Effort is made to uncover as many possibilities as possible, so as to arrive at a better understanding of how the two media interrelate for the purpose of emphasizing the dramatic lines.

• (The)Study of the Eastern Classic
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• no.66
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• pp.303-330
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• 2017

The purpose of this article is figuring out the modern understanding of SimChong Jeon's narrative and its storytelling strategy in the movie (2014). In the movie, there are three steps which are based on the temporal flow of narrative. shows the web-like structure of desire especially by focusing on the male character Sim Hakkyu. The relationship among characters in is gradually broken because of the desire. Moreover, the desire pushes Sim Chong who is Sim Hakkyu's daughter into the sacrifice. This part seems similar with the narrative of SimChong-Jeon which has been transmitted since 18~19 century in Choson dynasty. However, also tells a different story which describes the progress of Sim Hakkyu's seeking the real relationship filled with love. This difference is able to make people read with the 'stroytelling' point of view. All the lack or problem in is closely related to the desire of Sim Hakkyu. His narrative is something different from the typical story of SimChong-Jeon. A new narrative of Sim Hakkyu is not Sim Chong centered story but rather the anti of it. 'The other narrative' in seems social practice of storytelling in order to break down the preconception of SimChong-jeon called 'cannon'. This is the storytelling strategy of and it suggests the another way of creating new narrative which is based on the classical cannon.

• Cartoon and Animation Studies
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• s.31
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• pp.177-208
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• 2013

This research analyzes the media which is simultaneously used with TV viewing, the behaviour of multiple media users, and the characteristics of TV programs under Nscreen circumstances. According to the results, TV provides stories and positions it as the main screen (84.5%, n=566), under the Nscreen circumstances. Personal media reproduces stories from TV by utilizing aspects of social media functions such as participation, open communication, community, connectivity, etc. The content is classified under three categories: 1) elicit emotion(point feeling), 2) information production, 3) participation, which is further divided into three subcategories; watch, wish, and result guarantee based on the level of interactivity. This inquiry is based upon diary survey and focus group interviews emphasized the role change of TV, specifically that TV takes a key role in generating original stories with the expansion of screen and social media. Even though users were able to watch the same TV programs at the same time and same place, the different methods of viewing: smartphone, tablet PC, web based mp3 and etc., it reproduced different stories and elicited different characteristics from its TV viewers.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.6
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• pp.46-54
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• 2018

The Internet of Things (IoT) is an environment in which various devices provide services to users through communications. Because of the nature of the IoT, data are stored and distributed in heterogeneous information systems. In this situation, IoT end applications should be able to access data without having information on where the data are or what the type of storage is. This mechanism is called Service Discovery (SD). However, some problems arise, since the current SD architectures search for data in physical devices. First, turnaround time increases from searching for services based on physical location. Second, there is a need for a data structure to manage devices and services separately. These increase the administrator's service configuration complexity. As a result, the device-oriented SD structure is not suitable to the IoT. Therefore, we propose an SD structure called Name-based Service-centric Service Discovery (NSSD). NSSD provides name-based centralized SD and uses the IoT edge gateway as a cache server to speed up service discovery. Simulation results show that NSSD provides about twice the improvement in average turnaround time, compared to existing domain name system and distributed hash table SD architectures.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.151-191
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• 2021

This paper examines what is the content of Gusan's urban identity, represented by the film and how the contents and aspects of this city's identity interact with the structure of the films' discourse. weaves Gunsan and Seoul into continuously reorganized cities based on an interactive relation, rather than literal ones. Seoul in which the time for a film narrative is closed is converted into the starting point for tour to Gunsan. The both points in which audiences' ex post return occurs are the starting point for the time for the film discourse and the other point in which the title is suggested. The journey-type of the narrative structure in this film is a3-dimensional spiral-shaped, rather than a 2-dimensional circular regression. embodies the characteristics and the identity and apriority of two cities, based on such a spiral-shaped temporal and spatial structure. Seoul severs the relation between grand narrative/collective memory and small narrative/individual memory as an agnostic one, in other words, it is a city that cuts off cities, relations and memory and rejects the continuity of memory. On the other hand, Gunsan is a city in which both grand and small narrative and collective and individual memory coexist and both split and isolated mind are cured and mutually consoled. It describes Gunsan as the surplus space as a being for others, while expressing its identity as robust and literal thing. The film describes it as the field in which oppositional concepts such as historical interruption and continuity and spatial being for others and originality become 3-dimensional spiral ones, through the reciprocity between the narrative and the discourse structure. This paper has an implication, in that it examines how temporal and spatial relationship constituting the urban identity interacts with the structure of the film narrative.

• Journal of KIISE
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• v.42 no.6
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• pp.723-733
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• 2015

The OTT service that provides multimedia video has spread over the Internet for terminals with a variety of resolutions. The terminals are in communication via a networks such as 3G, LTE, VDSL, ADSL. The service of the network has been increased for a variety of terminals giving rise to the need for a new way of encoding multimedia is increasing. SVC is an encoding technique optimized for OTT services. We proposed an efficient multimedia management system for the SVC encoded multimedia data. The I/O trace was generated using a zipf distribution, and were comparatively evaluated for performance with the existing system.

• KIPS Transactions on Computer and Communication Systems
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• v.7 no.12
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• pp.295-300
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• 2018

The rapid development of IT, many conventional passive jobs have been automated. This automation increases the leisure time of many people and various services are being developed for them. In addition, with the advent of smart devices that are compact and portable, it is possible to use various internet services without any time and place discretion. Various studies based on virtualization are under way to efficiently store and process large data generated by many devices and services. Desktop Storage Virtualization (DSV), which integrates and provides users with on-premise-based distributed desktop resources during these studies, uses virtualization to consolidate unused resources within distributed, legacy desktops. This DSV is very important for providing high reliability to users. In addition, research on hierarchical structure and resource integration for efficient data distribution storage processing in a distributed desktop-based resource integration environment is underway. However, there is a lack of research on efficient operation in case of server failure in on-premise resource integration environment. In this paper, we propose Non-disruptive Server Management (NSM) which can actively cope with the failure of desktop server in distributed desktop storage environment based on on-premise. NSM is easy to add and remove desktops in a desktop-based integrated environment. In addition, an alternative server is actively performed in response to a failure occurrence.