• Journal of Broadcast Engineering
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• v.23 no.1
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• pp.126-137
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• 2018

Visual characters used in television affect the viewers in a different way from printed media. This paper analyzed the visual characters presented in each home shopping channel and their year-by-year characteristics in terms of layouts. Based on the results, the readability was analyzed according to different layouts, suggesting optimal layouts that allows for better communication with the viewers. The purpose of this study is thus to focus on the visual character layouts, which have not been fully explored to date, in order to identify the most effective one among basic locations of visual characters. The results indicate that the bottom location shows higher readability than top. The right side showed higher preference than left, while readability did not demonstrate a significant difference. As for the L-bar and reverse L-bar, the L-bar arrangement was shown preferable in terms of readability. Finally, the layout should be determined considering the readability by location.

• Journal of Broadcast Engineering
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• v.18 no.1
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• pp.43-58
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• 2013

Richmedia Service means that interactive media service can provide view with various multimedia elements(such as Video, Audio, Text) at same time. Various Multimedia elements can be serviced by Scene Description technology standards like BIFS(Binary Format for Scenes) and LASeR(Light Application Scene Representation). By providing Scene Component information, richmedia service is available to various multimedia services. so users is available to personalized services fitting temporal and spatial options. In conventional technology, when the scene is changed by user or service, mobile deletes the scene of configuration information and makes new scene of configuration information. this is a very inefficient way. In this paper, Propoesed that by using DOM(Document Object Model) method, to pass only the dynamic configuration part, changes scene method.

• The Journal of the Korea Contents Association
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• v.15 no.8
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• pp.130-140
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• 2015

With the growth of media platforms and fierce competition in the media market, there have been focus on cross media storytelling, a remediation of content already proven successful to another type of medium. In particular, webtoons have emerged as being successful source media, and this study analyzes how the webtoon 's narrative is expanded and transformed in the remediation process into TV drama. The results showed that, the webtoon , which was targeted at a relatively more specific audience, objectively described stories of the life and hardships of an office worker through a contractual employee at a trading company navigating work life based on strategies of Baduk; while the TV drama version, which aims to appeal to a broader audience, strengthened popular narratives with topics of social issues such as 'hardships of the non-permanent employee', 'sexual discrimination and sexual harassment in the workplace', 'difficulties of a working mom', and 'romance between new colleagues'. In addition, in order to create dramatic enjoyment, the drama's storytelling strategy incorporated conflicts by creating confrontational relationships among good and evil characters, and added humanism and comedic effect.

• Journal of Korea Multimedia Society
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• v.12 no.1
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• pp.69-84
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• 2009

In this paper, a real-time web-casting framework for many individuals or small organizations imploring internet broadcasting, is designed and implemented. It is the purpose of the proposed framework that any individual can easily construct his own broadcast station if he has minimum facility for the content transmission to the framework. This type of system should have a flexible architecture to be applicable in wide variation of operational environment. Since the proposed framework follows a component-based hierarchical structure consisting of 3 types of components, it can effectively cope with change of internal or external operational environment by simple modification of the associated component with the change. Also, various types of target application systems in the aspects of cost and performance can be constructed in accordance with how to associate upper layer components with hardware platforms. A real prototype system based on the proposed framework is implemented, and then the response delay time is measured under varying number of content productions and content receivers. The results show that the response delay time follows M/M/1 model, which is one of the well-known performance models, and the implemented system may accommodate from 16 to 20 productions.

• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.68-85
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• 2020

Mukbang, which appeared through the new media platform in the early 2000s, reflected the life of the young generation who had to eat alone in the face of deteriorating socio-economic conditions. Many young people were able to watch Mukbang together, and gain comfort by establishing a virtual community of everyday life with those who suffered similar difficulties. Since then, Mukbang has evolved into various forms, reflecting the society and also accommodating the needs of viewers, and now it has become a global phenomenon, not just in Korea. Early research focuses on the phenomenon as a bizarre side that appears in the early stages rather than the growth and change of Mukbang, and deals with it in a limited way. This article critically examines these limitations, and examines how the growth and development of Mukbang interacted with the social change process, and how the uniqueness of Mukbang could emerge in the characteristics of the new media. Through this, we will be able to look at the context of the growth of Mukbang as a global phenomenon and the impact on the legacy media.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.629-633
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• 2008

In Korean society, digital contents such as VCC has introduced a new medium of advertisement and has become a culture. This research aims to investigate consumer characteristics for different types of consumption patterns for services dealing with digital contents. A total of 96 statements were extracted from literature review and popular press articles and 39 participants participated in this study. The results show 6 types of consumption patterns: Gak-jang-ee, Second-level Celebrity, Viewers, Politicians, Humanists, and Paris Hilton. These groups demonstrate consumer's behavioral characteristics and personal values. This study is meaningful in that it provides an insight for marketing strategies for corporations dealing with digital contents such as VCC.

• The Journal of the Korea Contents Association
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• v.13 no.2
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• pp.198-210
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• 2013

This study investigates the detrimental effect of watching sexual content in three-dimensional (3D) moving pictures. An increasing amount of investment is put especially in 3D adult content to boost their 3D media industries. It is crucial that the effect of sexual contents on viewers be identified. In this experiment, a between-subject design was employed to analyze various effect of sexual content on participants whether they viewed the same stimuli in 3D or in 2D. In particular, the presence scaling was used to evaluate how real the video clip is. In addition, the permissiveness toward sexual behaviors and the level of sexual arousal were measured to examine the different effect of sexual content by dividing two separate groups in 2D and 3D condition. The result shows that those who watched a 3D video clip perceived higher sense of presence compared to those who watched a 2D video clip. Furthermore, subjects in 3D condition reported lower scores of permissive attitude toward sexual behaviors. This confirms that 3D display delivers more visual experience and has an impact on people in terms of perceiving sexual contents and changing their attitudes towards sexual behaviors.

• The Journal of the Korea Contents Association
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• v.19 no.7
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• pp.130-137
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• 2019

With the advent of smart media, short and fast-paced video content appeared, and conditions for viewing changed to viewing in environments where the perception is dispersed due to distracting and complicated external situations in a short period of time. Accordingly, smart media videos are quickly delivering meaning while keeping the eyes of viewers who lack patience. Our eyes and brain have a hard time accepting image information that flows through the constraints of a small screen. Our visual perception is limited in terms of acceptable visual information and, in particular, less cognition in moving images, so the production of smart media images should be directed in a way that enhances perceptual understanding. To be able to effectively communicate what you want to talk about while reducing the visual burden, intuitive image comprehension is needed by applying intuitiveness and behavioral induction to the moving images. Close-up shot, stable structure such as frontality and three-division structure, and color have such 'visual affordance' Therefore we need to use that device appropriately.

• The Journal of the Korea Contents Association
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• v.21 no.8
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• pp.60-68
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• 2021

The purpose of this paper is to examine the formal characteristics of , which has been screened on Netflix since 2018. This film can be considered an interactive narrative because it gives viewers the opportunity to select their own narrative forks which lead to various endings. However, it also limits viewers' freedom of interactions in many ways, resulting in the pessimistic narrative world of series. In this contradictory situation, the conflict between the user's selectability and the narrator's authoriality emerges. And this collision gives rise to a complex form in which nonlinear interactive and linear narrative forms blend together. It can be understood as a form of self-reflection, such as forms of the metalepsis and breaking the fourth wall. In this paper, this particular form will be regarded as a sort of reflexive intermediality, i. e. the form for media reflexion.

• Science of Emotion and Sensibility
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• v.16 no.2
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• pp.207-220
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• 2013

For video reality improvement, there has been much advancement in the methods of providing visual, auditory, and tactile information. On the other hand, there is little research on olfaction for video reality because it is difficult to define and knotty to manipulate. As a first step for video reality improvement using olfactory information, this research investigated users' acceptability of smell when they watch videos of various kinds and then classified the video clips based on their acceptability of different criteria. To do so, we first selected three questions of whether the scene in the video appears to have an odor (odor presence), whether a matching odor is likely to improve a sense of reality (effect on sense of reality), and whether s/he would like a matching odor to be present (preference for the matching odor). Then after collecting 51 video clips of various genres that would receive either high or low ratings for the questions above, we had participants to watch the videos and rate them for the above three questions on 7-point scale. For video classification, we paired each two questions to construct 2D space to draw scatterplot of video clips where the scales of the two questions represent X or Y axis. Clusters of video clips that locate at different quadrants of the 2D space would provide important insights in providing olfactory information for video reality improvement.