• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.578-591
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• 2018

This study is to find out what are the factors influencing upon the convergent TV viewing experiences. Socio-demographic variables are identified as the most influential ones. Viewing modes are more influential than the media utilization factors. Comparing the detailed dimensions of TV viewing experiences, time and content selectivity are more influenced by TV viewing modes, while sociability and interactivity are more affected by socio-demographic variables relatively. This study has academic significance in that it is an exploratory empirical study on factors influencing on the TV viewing experiences.

• Proceedings of the Korean Information Science Society Conference
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• 2001.10a
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• pp.685-687
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• 2001

인터넷이 활성화되면서 다양한 웹 기반 서비스가 제공되어진다. 그 가운데 하나가 VOD(Video On Demand) 서비스이다. VOD는 다양한 프로그램을 사용자가 원하는 시점에 볼 수 있도록 한다. VOD 서비스를 유료화할 경우 시청한 양만큼 요금을 지불하는 pay-per-view 방법을 생각할 수 있다. Pav-per-view방식으로 서비스를 하는 경우 사용자는 각 프로그램을 시청한 양에 따라 요금이 부과되고 서비스 제공자는 부과된 요금이 정당함을 보증하는 공정성을 제공하여야 한다. 또한 사용자의 시청 내역을 타인으로부터 보호하는 기밀성이 보장되어야 한다. 이 연구에서는 기밀성과 공정성을 제공하는 웹 기반 pay-per-view 방식을 개발하였다. 이 논문에서 제안된 pay-per-view 방식은 대칭키 암호 기법을 이용하여 내용 및 자료 요청에 대한 기밀성을 제공하며 전자 서명과 다중 해쉬를 사용하여 사용자의 요금 부과에 대한 공정성을 제공한다. 또한 제안된 방식은 반복적으로 시청되는 내용에 요금을 차등하게 부과할 수 있는 유연성을 가지고 있다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2016.06a
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• pp.313-316
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• 2016

현행 수화방송서비스는 방송영상 화면위에 수화영상을 덧씌우는 방식으로 송출하기 때문에 수화영상의 크기가 작고 수화 영상을 제거하거나 크기 위치 조정이 불가능하여 청각장애인의 TV 시청에 불편함을 초래하고 있다. 청각장애인의 방송접근권 확대와 일반시청자의 TV 시청환경 제고를 위해 스마트 수화방송서비스는 방송 인터넷 융합 하이브리드 방식으로 방송영상과 수화영상을 방송망과 인터넷망으로 각각 송출하고 TV수신기가 두 영상의 동기화를 처리하고 앱을 통해 수화영상의 크기, 위치 조정 및 제거 서비스를 제공한다. 본 논문에서는 방송 인터넷 융합 하이브리드 방식인 스마트 수화방송서비스의 표준 기술 및 동기화 방식을 소개하고 스마트 수화방송 시험환경 및 동기화 지연시간 측정 결과를 소개한다.

• Journal of Korean Ophthalmic Optics Society
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• v.16 no.1
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• pp.83-90
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• 2011

Purpose: This study aimed to compare and assess whether there was a relation between self-reported symptom and stereopsis in viewing an anaglyph 3D and a general 2D image. Methods: Seventy subjects (38 males, 32 females) were students ranging in age from 20 to 30 years. Subjects' symptoms were investigated by a questionnaire after viewing the 2D image and the anaglyph 3D image using red-green glasses for 30 minutes. Titmus circles and TNO stereopsis tests were performed before and after the images. A correlation between symptom and stereopsis was evaluated. Results: Both ocular and nonocular symptom in viewing 3D image were higher than those in 2D image. Titmus circles stereopsises using polarized filters were not changed before and after viewing images, but TNO stereopsises using color filters such as red-green glasses were increased after viewing 3D image. Ocular symptom and TNO stereopsis were increased after viewing 3D image, and there was a good correlation between them (r=0.605). Conclusions: Better stereopsises before viewing 3D are relatively lower ocular symptoms in viewing 3D image. But symptoms are increased in viewing anaglyph 3D image for a short-time and improvement of TNO steropsis is poorly associated with the relief of ocular symptoms. This tendency seems to be related with an adaptation to anaglyph 3D image with red-green glasses.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 2005.10a
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• pp.414-421
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• 2005

시청률은 각 방송사의 주요 수입원인 광고비 책정의 중요한 변수이다. 따라서 프로그램 편성자(Program Planner)는 경쟁 방송사의 편성을 고려한 시청률 최대화 전략을 수립하려 하며, 시청률 예측 모델을 사용하여 그 목적을 달성할 수 있다. 나아가 시청률 예측모델이 정확할수록 현재의 임의적인 광고비 책정 방식보다 정확한 광고비의 가격 책정이 가능해져 보다 합리적인 광고 및 미디어 시장 환경을 성립할 수 있다. 본 연구에서는 최근의 국내 TV 시청률 자료를 이용하여 국내 공중파 방송에 대한 시청률 예측 모델을 성립하고, 이를 이용한 시청률 최대화 전략을 제시한다.

• The Journal of the Korea Contents Association
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• v.8 no.10
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• pp.95-103
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• 2008

Hana TV and Mega TV have been growing rapidly with IP-VOD service. The number of subscribers of both of them were 1.4 million in April 2008. Additionally, the change of viewing patterns of IPTV subscribers was predicted. Therefore, the purpose of this paper is to see how the subscribers use IP-VOD service practically. For this research, the frequency, the time and the duration of connection by genre have been analyzed on the March of 2007 and 2008. According to the result, there was a significant change quantitatively: within a year, not only the number of subscribers has doubled, but also the frequency of monthly connection has been increased 15 times. In addition, the duration of viewing per person has quadrupled. Regarding to the contents, the subscribers still prefer to watch free TV programs. However, the viewers have their own way of consuming TV programs. It has been proved that IPTV is a complementary media of free TV with a strong possibility to change the viewing patterns in the near future.

• Journal of the Institute of Electronics and Information Engineers
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• v.53 no.3
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• pp.107-113
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• 2016

Visual discomfort is a common problem in three-dimensional videos. Among the methods to overcome visual discomfort presented in current research, disparity adjustment methods provide little guidance in determining the condition for disparity control. We propose a diaprity adjustment based on the characteristics of disparity distribution on visual comfort, where the visual comfort level is used as the adjustment paramter, in parallax barrier type auto-stereoscopic 3D display. In this paper, we use the horizontal image shift method for disparity adjustment to enhance visual comfort. The speeded-up robust feature is used to estimate the disparity distribution of 3D sequences, and the required amount for disparity control is chosen based on the pre-defined characteristics of disparity distribution on visual comfort. To evaluate the performance of the proposed method, we used a 3D equipment. Subjective tests were conducted at the fixed optimal viewing distance. The results show that comfortable videos were generated based on the proposed disparity adjustment method.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2010.07a
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• pp.148-149
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• 2010

최근 널리 보급되고 있는 IPTV의 주요 서비스인 주문형 비디오 서비스의 시청 순위는 Zipf의 법칙을 따른다고 알려져 있으며 이를 기반으로 계층형 네트워크 스토리지 구조로 서비스를 제공하여 네트워크 비용과 스토리지 비용을 절감하고 있다. 그러나, 최근 연구에 의하면 미디어 시청 순위는 stretched exponential 함수에 더 근사함이 알려졌다. 본 연구에서는 국내에서 현재 상용 서비스 중인 대규모 주문형 비디오 서비스의 시청 순위-회수 데이터를 분석하여, 시청 순위로부터 stretched exponential 함수의 모수를 추정하여 시청 순위의 분포함수를 파악하고자 한다. 특히, 콘텐츠 파일 크기, 콘텐츠 파일 전달방식, 콘텐츠 장르 등의 요인과 시청 순위 분포함수의 모수 사이에 상관관계가 있는지 분석하고자 한다.

• Smart Media Journal
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• v.13 no.2
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• pp.62-67
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• 2024

Due to technological advancements in viewing devices and the COVID-19 pandemic, a lot of OTT-only content is being produced and distributed as people shift from traditional movie theater viewing and broadcasters' fixed TV viewing to free-form OTT viewing using wired and wireless internet. As a result, the ability to leverage data from OTT audiences has become critical to the competitiveness of the industry. However, third parties other than OTT content providers are facing difficulties in acquiring OTT viewer data. In this paper, as a way to overcome the shortcomings of existing viewer data acquisition, we propose a method to extract audio and video data by developing an OTT viewing data acquisition agent using Web APIs by adopting a web browser environment that does not affect the performance of OS and viewing devices, so that third-party companies that need viewing data can utilize it.

• Korean journal of communication and information
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• v.58
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• pp.201-221
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• 2012

The male audience for melodrama, a typical women's genre, has drawn little attention in the audience research. Thus, this paper examines how and in what context they watch it, as well as how they accept and rationalize their 'feminine' taste. And in-depth interviews were conducted with seven middle-aged males. While they acknowledge their feminine taste, they tend to legitimize and re-contextualize it in ways that may not contradict their notion of masculinity. Consequently, they often demonstrate seemingly contradictory attitudes oscillating between enjoying it and distancing themselves from their please of viewing. Yet, their acknowledgement of feminization hardly extends to an acceptance of being labelled 'feminine' men. They attempt to distance themselves from emotional engagement in television viewing, either through emotional self-censorship or under-valuation of the taste for the genre itself. Finally, they hardly connect their taste for the genre to a sort of active post-viewing practices of fandom. The results have considerable implications for understanding how the melodrama-viewing males keep traversing the boundaries of gender-specific genres, and reconstitute the notion of masculinity.