• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.48-59
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• 2014

This study examines the characteristics in melodramas by comparing three major television broadcasting companies(MBC, SBS, and KBS) since 2000. The findings of the study are as follows: "Romance" melodrama is more common in MBC and SBS, than in KBS, where "family" melodrama is more common. The most cause of conflict shown in MBC is "love between the rich and the poor" that in SBS is "conflict between love and success", and that in KBS is the conflict similar to that between "Ondal the fool and Princess Pyeong-gang". The most common love relationship shown in SBS and KBS is the "single love triangle" and that in MBC is "double love triangle". In the shows of all three TV broadcasting companies, male protagonists most frequently belongs to "jaebeol" (the rich) and female protagonists are "company workers". The most common personality trait of male protagonists' in MBC shows is and "optimism", in SBS shows, it is "supercilious behavior", in KBS, it is "simple-hearted". However, the personality of female protagonists in the shows of all three broadcasting companies can be described as, bright and cheerful. In MBC and SBS, male protagonists were frequently portrayed as capable, and in KBS, as self-conceited. in KBS are the most frequent. Female protagonists in the shows of all three broadcasting companies were most frequently portrayed as hardworking.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2005.11a
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• pp.29-32
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• 2005

3차원 비디오는 차세대 정보 통신 서비스 분야의 하나로, 사용자에게 시각적으로 고차원적인 서비스를 제공하는 것을 목적으로 한다. 이 가운데 다시점 비디오는 같은 시간, 여러 시점에서 영상 정보를 획득하여 사용자에게 원하는 시점의 영상 정보를 제공하는 3차원 비디오이며, 현재 방송 관련 연구 기관에서 차세대 실감방송 멀티미디어 서비스 개발을 목적으로 하는 연구가 활발히 진행되고 있다. 최근 MPEG 표준화 그룹에서는 다시점 비디오 부호화 (multi-view video coding, MVC) 방법에 관한 표준화 작업이 진행 중이며, 최신 비디오 압축 표준인 H.264를 이용한 여러 가지 방법들이 제안되었다. 현재 MVC 표준화 작업의 평가 기준이 되는 방법은 각 시점을 H.264로 부호화하는 방법인데, 이는 다시점 비디오 영상의 중요한 특성인 인접시점들 사이의 공간적 상관도를 전혀 고려하지 않았다. 본 논문에서는 시점 보간법을 이용하여 얻어진 중간 영상과 원영상과의 차분 영상을 부호화하는 알고리즘을 제안하고자 한다. 여기서 시점 보간법이란 좌우 두 시점 영상으로부터 변이값을 얻은 다음, 이를 이용하여 중간 시점 영상을 합성하는 방법을 말한다. 예를 들면,다시점 비디오의 홀수 번째 시점의 영상은 기존의 방법을 따르고, 짝수 번째 시점의 영상은 이미 부호화된 홀수 번째 시점의 영상을 이용하여 보간적으로 예측하여 원래 영상과 차분 영상을 구하여 부호화한다. 차분 영상은 영상의 복잡도가 많이 감소되어 원영상에 비해 보다 나은 부호화 효율을 보인다. 그러나 합성 영상이 각 장면마다 독립적으로 생성되므로 원영상에 비해 차분 영상의 시간적인 상관도가 줄어들어 I장면의 경우 부호화 효율이 크게 향상되었으나, 시간적인 상관도를 이용하는 P장면과 B장면에서는 오히려 좋지 않은 결과를 보였다. 통계는 전 국민에 대한 패널자료이기 때문에 통계적 활용의 범위가 방대하다. 특히 개인, 가구, 사업체 등 사회 활동의 주체들이 어떻게 변화하는지를 추적할 수 있는 자료를 생산함으로써 다양한 인과적 통계분석을 할 수 있다. 행정자료를 활용한 인구센서스의 이러한 특징은 국가의 교육정책, 노동정책, 복지정책 등 다양한 정책을 정확한 자료를 근거로 수립할 수 있는 기반을 제공한다(Gaasemyr, 1999). 이와 더불어 행정자료 기반의 인구센서스는 비용이 적게 드는 장점이 있다. 예를 들어 덴마크나 핀란드에서는 조사로 자료를 생산하던 때의 1/20 정도 비용으로 행정자료로 인구센서스의 모든 자료를 생산하고 있다. 특히, 최근 모든 행정자료들이 정보통신기술에 의해 데이터베이스 형태로 바뀌고, 인터넷을 근간으로 한 컴퓨터네트워크가 발달함에 따라 각 부처별로 행정을 위해 축적한 자료를 정보통신기술로 연계${cdot}$통합하면 막대한 조사비용을 들이지 않더라도 인구센서스자료를 적은 비용으로 생산할 수 있는 근간이 마련되었다. 이렇듯 행정자료 기반의 인구센서스가 많은 장점을 가졌지만, 그렇다고 모든 국가가 당장 행정자료로 인구센서스를 대체할 수 있는 것은 아니다. 행정자료로 인구센서스통계를 생산하기 위해서는 각 행정부서별로 사용하는 행정자료들을 연계${cdot}$통합할 수 있도록 국가사회전반에 걸쳐 행정 체제가 갖추어져야 하기 때문이다. 특히 모든 국민 개개인에 관한 기본정보, 개인들이 거주하며 생활하는 단위인 개별 주거단위에 관한 정보가 행정부에 등록되어 있고, 잘 정비되어 있어야 하며, 정보의 형태 또한 서로 연계가 가능하도록 표준화되어있어야 한다. 이와 더불어, 현재 인구센서스에서 표본조사를 통해 부가적으로 생산하는 경제활동통계를 생산하기 위해서는 개인이

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.713-721
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• 2022

In order to use the LED video wall in the broadcasting studio, there are a few things to be aware of. First, since the pixels are closely arranged, a moire phenomenon may occur due to a short arrangement period, and second, the distance between pixels (pixel pitch) may be recorded on the image sensor of the broadcasting camera. When moire occurs or pixel pitch is observed, viewers feel uncomfortable. Moire effect can be reduced by adjusting the shooting distance or angle of the camera, but in order to prevent the pixel pitch from being recorded on the image sensor, secure a sufficient distance between the LED video wall and camera. even when the distance secured, the zoom lens used in the broadcasting studio must be operated by appropriately changing the magnification. If the focal length is changed by changing the magnification to obtain a desired angle of view, the pixel pitch may be unintentionally recorded. In this study we propose the range that the pixel pitch is not observed while changing the magnification ratio of the zoom lens when the distance from the video wall is sufficiently secured. The content was played back on the LED video wall and the LED video wall was recorded on the server using an HD camera equipped with a B4 mount zoom lens

• Journal of Digital Convergence
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• v.16 no.12
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• pp.283-292
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• 2018

UHD (Ultra High Definition) broadcasting technology, and UWV (Ultra Wide Vision) which is the high quality panoramic video of wide view angle based on UHD, were commercialized in Korea for the first time in the world, and those are representative realistic video technologies that maximize the user's sense of presence. By comparing the user's subjective reaction of UHD and UWV, the purpose of this study is to systematically establish the user's subjective video quality evaluation. For this purpose, a large screen projection experiment is designed by setting the screen size (4k x 2k, 8k x 2k) and content types (sports, landscape, concert) as variables to measure the user's subjective video quality evaluation and satisfaction. As a result of the study, the users' evaluation of UWV was higher than UHD in all items of subjective video quality, and satisfaction. Moreover, the results showed the significant differences depending on the video contents. Based on the results of the research, the study proposed the points necessary for the development and commercialization of UWV panoramic technology, and suggestions for the future research.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.213-217
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• 2022

It is a time when a sustainable Korean Culture Festival strategy is needed. The Korean Culture Festival is a Hallyu Culture Festival that comprehensively introduces various Korean cultures such as Korean food, beauty, and fashion with the focus on K content, which has been leading the global craze since 2020. As the core project of the promotion of Neo Hallyu by the Ministry of Culture and Gymnasium, the 2021 Korean Culture Festival, which was based on the World K-Pop concert and the K-Culture Fan Fair, including holding the first face-to-face concert that applied the stage of real-world content after Covid-19, as well as conducting and exhibiting various fan participation challenges, must now make the leap to the global Hallyu Culture Festival. To this end, it can consist of drama, K-pop, K-Culture Fan Fair, K-Meetup, K-Culture Parade, and Awards. This distinction shows a classic festival program centered around the prosumer content that drives the Korean Wave, and in order for this philosophy to be effectively linked to its contemporaries, a Business to Business (B2B) and Business to Consumer (B2C) 'Techtainment Strategy' is needed to acquire potential customers through learned playfulness.

• Journal of Broadcast Engineering
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• v.17 no.2
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• pp.400-410
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• 2012

In recent years, 3D displays are used in many media including 3D movies, TV, mobile phones, and PC games. Although 3D displays provide realistic viewing experience as compared with 2D displays, they also carry issues such as visual fatigue or size distortion. Focusing on the latter, we developed prediction function of object size perception as a function of object depth in 3D display. In Experiment 1, subjects observed 3D square of a fixed size of varying depth, and manipulated 2D square to make it as large as the 3D square. Conversely, in Experiment 2, subjects observed 2D square of a fixed size, and manipulated 3D square of varying depth to make it as large as the 2D square. In both Experiments 1 and 2, we found that size perception of 3D square linearly changed depending on depth of the square, and the linear relationship between depth and size was identical in both experiments. The predictive regression function, which predicts object size perception based on object depth, obtained in this research will be very useful in the creation of 3D media contents.

• Journal of Broadcast Engineering
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• v.12 no.2
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• pp.128-136
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• 2007

Since the multi-view video is a set of video sequences captured by multiple array cameras for the same three-dimensional scene, it can provide multiple viewpoint images using geometrical manipulation and intermediate view generation. Although multi-view video allows us to experience more realistic feeling with a wide range of images, the amount of data to be processed increases in proportion to the number of cameras. Therefore, we need to develop efficient coding methods. One of the possible approaches to multi-view video coding is to generate an intermediate image using view interpolation method and to use the interpolated image as an additional reference frame. The previous view interpolation method for multi-view video coding employs fixed size block matching over the pre-determined disparity search range. However, if the disparity search range is not proper, disparity error may occur. In this paper, we propose an efficient view interpolation method using initial disparity estimation, variable block-based estimation, and pixel-level estimation using adjusted search ranges. In addition, we propose a multi-view video coding method based on H.264/AVC to exploit the intermediate image. Intermediate images have been improved about $1{\sim}4dB$ using the proposed method compared to the previous view interpolation method, and the coding efficiency have been improved about 0.5 dB compared to the reference model.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.42 no.2
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• pp.432-443
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• 2017

The primary goal of the MPEG-H 3D Audio standard is to provide immersive audio environments for high-resolution broadcasting services such as UHDTV. This standard incorporates a wide range of technologies such as encoding/decoding technology for multi-channel/object/scene-based signal, rendering technology for providing 3D audio in various playback environments, and post-processing technology. The reference software decoder of this standard is a structure combining several modules and can operate in various modes. Each module is composed of independent executable files and executed sequentially, real time decoding is impossible. In this paper, we make DLL library of the core decoder, format converter, object renderer, and binaural renderer of the standard and integrate them to enable frame-based decoding. In addition, by measuring the computation complexity of each mode of the MPEG-H 3D-Audio decoder, this paper also provides a reference for selecting the appropriate decoding mode for various hardware platforms. As a result of the computational complexity measurement, the low complexity profiles included in Korean broadcasting standard has a computation complexity of 2.8 times to 12.4 times that of the QMF synthesis operation in case of rendering as a channel signals, and it has a computation complexity of 4.1 times to 15.3 times of the QMF synthesis operation in case of rendering as a binaural signals.

• The Journal of the Korea Contents Association
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• v.8 no.9
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• pp.55-65
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• 2008

At these information age when the importance of news is of particular emphasis, the field of image-production for the news are being made rapid progressive by high-tech like multi-media, multi-channel digital system. Even experts who have engaged in the work of broadcasting in th field for a long time are perplexed with rapid development in Broadcasting equipments and expression techniques. The field of TV is characterized by the speed of change and the desire of viewers for new and interesting video images. The image expression system applying image line has ever existed as one of conventional image expression methods. Obsolete and old image expressions are paling into significance for viewers who want to access more information in a short time. but The change of image expression systems due to the progressive stream of time has forced existing imaginary to be changed constantly to accommodate the changing interests and expectations of the viewers. Therefore, in this treatise, we need a broad interpretation about the direction of this imaginary line for TV news image in that existing systems of image producing haven’t also been changed and adapted to the stream of time. In these days, image is defined as not only video, but also audio. also We need to reduce the confusion concerning the imaginary line and contribute to a correct understanding images of TV news for not only customers but also producer by extending and applying the concept of imaginary line to image producing.

• Smart Media Journal
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• v.10 no.4
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• pp.111-120
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• 2021

This study looked at how the digital cultural heritage, which is being actively built by the government and public institutions, can be utilized in the metaverse service. Through an expert interview, we investigated how the digital cultural heritage of Bulguksa can be serviced with the four elements of the metaverse: augmented reality, mirror world, lifelogging, and virtual world. As a result of the study, it was confirmed that when digital cultural heritage is used in a virtual space called metaverse, interactive and realistic services can be provided to users. In addition, it was found that users can exhibit, experience, and educate online parts that are not available in real life in the same situation as if they were in the field. Through this, it was confirmed that if digital cultural heritage is designed as a metaverse service, it can provide functions and services of a different level than before. In particular, the result was obtained that it is possible to provide services considering the characteristics of each of the four elements of the metaverse. First, it is possible to obtain the convenience of augmenting the senses by using augmented reality, and secondly, it is possible to obtain the scalability and efficiency of reproducing the real space by using it as a mirror world element. Third, by using the lifelogging element, communication can be strengthened through the user's record and connection, and fourthly, through the virtual world element, roles and activities in the virtual world can be given to the user. Therefore, if digital cultural heritage is developed as a metaverse service in consideration of these factors, a more active and open experience environment can be provided to users.