• Electronics and Telecommunications Trends
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• v.14 no.6 s.60
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• pp.64-73
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• 1999

디지털 워터마크는 디지털 데이터에 삽입된 후 검출되거나 추출될 수 있도록 원신호에 추가된 신호를 의미한다. 디지털 서명(signature)이라고 말하기도 하는 워터마크는 디지털 데이터에 삽입된 일종의 패턴으로써, 디지털 멀티미디어 저작물의 저작권 보호를 위해 최근 들어 활발히 연구되고 있는 분야이다. 본 고에서는 멀티미디어 데이터의 소유권을 보호할 수 있는 워터마킹 기술의 역사와 정의 및 응용범위, 워터마크가 갖추어야 할 조건들, 그리고 문자, 영상 및 오디오 데이터의 워터마킹 기술에 대해 살펴보았다.

• The Transactions of the Korea Information Processing Society
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• v.6 no.4
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• pp.1112-1119
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• 1999

Digital watermarking is to embed imperceptible mark into image, video, audio and text data to prevent the illegal copy of multimedia data, arbitrary modification, and also illegal sales of the copes without agreement of copyright ownership. The DCT(discrete Cosine Transforms) transforms of original image is conducted in this research and these DCT coefficients are expanded by Fourier series expansion algorithm. In order to embed the imperceptible and robust watermark, the Fourier coefficients(lower frequency coefficients) can be calculated using sine and cosine function which have a complete orthogonal basis function, and the watermark is embedded into these coefficients, In the experiment, we can show robustness with respect to image distortion such as JPEG compression, bluring and adding uniform noise. The correlation coefficient are in the range from 0.5467 to 0.9507.

• The Journal of the Korea Contents Association
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• v.8 no.1
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• pp.203-211
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• 2008

Due to the advent of presumer and digital production of moving picture, a lot of UCC has been generated by editing the previous moving pictures in various way. It causes a lot of problems on copyright, duplication, and content. In reorganizing the contents, it is necessary to increase productivity and reusability by managing production pipeline systematically through the standardization of moving picture content. For this purpose, we try to develop the moving picture content management system that can manage all kinds of information on the production pipeline, based on SCORM of e-learning by considering production, publication and re-editing. Using the meta-data of content object, user and producer can easily search and reuse the contents. Hence, they can choose the contents object according to their preference and reproduce their own creative UCC by reorganizing and packaging the selected objects. The management of copyright by the unit of scene would solve the problem of copyright. The sequencing technique of SCORM as an interactive storytelling method makes it possible to produce individual contents by user's preference.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.8 no.2
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• pp.1-8
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• 2008

The object of watermarking is to prevent from copying and distributing without the copyright or right of ownership. In case of using watermark as an image data we can detect watermark whether an original image exists or not. In this paper, we proposed that an image data is used for watermark and the watermark is detected without an original image. After the original image is transformed with DWT and the watermark is transformed with DCT, they are transformed with binary number. We calculate an optimal bit position for concealing watermark of an original binary image and insert the watermark and determine the best position for robustness against JPEG compression, filtering, and resampling attacks within inserted watermark image. In this paper, we are able to confirm the right of copyright and ownership easily while using invisible watermark and also we can detect a watermark without an original image.

• Proceedings of the Korean Society of Computer Information Conference
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• 2020.07a
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• pp.437-438
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• 2020

국내 실감형 콘텐츠 시장은 전년도비 42.9%의 연평균 성장률을 보이며 2020년에는 약 5조 7,271억원의 규모에 이를 것으로 전망된다. 특히 2018년 기점으로 하드웨어보다는 콘텐츠 시장이 확대되었다. 최근 실감형 콘텐츠의 유통이 본격적으로 시작됨에 따라 저작권 침해 사례들이 나타나고 있으나 시장의 저변확대 측면에서 그렇게 주목받지 못하고 있다. 실감형 저작물을 제작하는 업체가 주로 소기업이고, 제작하는 비용이 고비용인 점을 고려할 때 저작권 보호 기술인 필터링 기술이 절대적으로 요구되고 있다. 필터링 기술의 성능 평가할 기준인 강인성 지표가 미정립 된 상태이다. 따라서 본 논문에서는 특정 기술에 종속되지 않는 실감형 360도 영상 콘텐츠 강인성 지표를 제안한다.

• The Korean Journal of Archival Studies
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• no.78
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• pp.197-249
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• 2023

This paper focus on the demand for broadcast and video archive contents by users outside broadcasters as the archive openness and sharing projects of terrestrial broadcasters have become more active in recent years. In the process of creating works using broadcasters' released video footage, the study examined the criteria by which video footage is selected and the methods and processes utilized for editing. To this end, the study analyzed the the case of the 5.18 footage video sharing project 〈May Story(Owol-Iyagi)〉 contest organized by KBS in 2022, in which KBS released its footage about the May 18 Democratic Uprising and invited external users to create new content using them. Analyzing the works that were selected as the winners of the contest, the research conducts in-depth interviews with the creators of each work. As a result, the following points are identified. Among the submitted works, many works deal with the direct or indirect experience of the May 18 Democratic Uprising and focus on the impact of this historical event on individuals and our current society. The study also examined the ways in which broadcasters' footage is used in secondary works. We found ways to use video as a means to share historical events, or to present video as evidence or metaphor. It is found that the need for broadcasters to provide a wider range of public video materials such as the May 18 Democratic Uprising, describing more metadata including copyright information before releasing selected footage, ensuring high-definition and high-fidelity videos that can be used for editing, and strengthening streaming or downloading functions for user friendliness. Through this, the study explores the future direction of broadcasters' video data openness and sharing business, and confirms that broadcasters' archival projects can be an alternative to fulfill public responsibilities such as strengthening social integration between regions, generations, and classes through moving images.

• Journal of IKEEE
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• v.24 no.3
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• pp.743-753
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• 2020

In this paper, we propose a set of robustness indicators for immersive 360-degree video. With the full-fledged service of mobile carriers' 5G networks, it is possible to use large-capacity, immersive 360-degree videos at high speed anytime, anywhere. Since it can be illegally distributed in web-hard and torrents through DRM dismantling and various video modifications, however, evaluation indicators that can objectively evaluate the filtering performance for copyright protection are required. In this paper, a robustness indicators is proposed that applies the existing 2D Video robustness indicators and considers the projection method and reproduction method, which are the characteristics of Immersive 360-degree Video. The performance evaluation experiment has been carried out for a sample filtering system and it is verified that an excellent recognition rate of 95% or more has been achieved in about 3 second execution time.

• Journal of Broadcast Engineering
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• v.13 no.5
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• pp.662-676
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• 2008

This paper presents a video copy detection algorithm that blocks online transfer of illegally copied DTV broadcast programs. Particularly, the proposed algorithm establishes a set of keyframes by detecting abrupt changes of luminance, and then exploits the spatio-temporal features of keyframes. Comparing with the preregistered features stored in the database of DTV broadcast programs, the proposed scheme performs a function of video filtering in order to distinguish whether an uploaded video is illegally copied or not. Note that we analyze only a set of keyframes instead of an entire video frame. Thus, it is highly efficient to identify illegal copied video when we deal with a vast size of broadcast programs. Also, we confirm that the proposed technique is robust to a variety of video edit-effects that are often applied by online video redistribution, such as apsect-ratio change, logo insertion, caption insertion, visual quality degradation, and resolution change (downscaling). In addition, we perform a benchmark test in which the proposed scheme outperforms previous techniques.

• Journal of IKEEE
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• v.24 no.2
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• pp.419-425
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• 2020

The market size of immersive 360-degree video contents, which are noted as one of the main technology of the fourth industry, increases every year. However, since most of the images are distributed through illegal distribution networks such as Torrent after the DRM gets lifted, the damage caused by illegal copying is also increasing. Although filtering technology is used as a technology to respond to these issues in 2D videos, most of those filtering technology has issues in that it has to overcome the technical limitation such as huge feature-point data volume and the related processing capacity due to ultra high resolution such as 4K UHD or higher in order to apply the existing technology to immersive 360° videos. To solve these problems, this paper proposes a feature-point recognition ratio improvement method for immersive 360-degree videos using deep learning technology.

• Proceedings of the Korea Inteligent Information System Society Conference
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• 1999.10a
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• pp.7-30
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• 1999

현재 방송과 비디오, 신문 등의 매체를 통해 배포되고 있는 컨텐츠를 향후 인터넷을 통해 디지털 유료 서비스하기 위해서는 저작물에 대한 복제와 불법 유통을 막을 수 있는 기술의 개발이 필요하다. 현재 주문형 음악 서비스에서 사용하고 있는 방법은 서비스 제공자에서 사용자까지 전달되는 과정에서 키(Key)를 사용하여 암호화하는 방법이 있으나 일단 적법한 사용자에 의해서 부호화되고 나면 불법 복제 및 유통을 막을 수 없다는 문제점이 있다. 워터마킹 기술은 네트워크를 통해서 전달되는 멀티미디어 컨텐츠 속에 저작권 소유지의 표시를 숨겨두는 기술로서 지적 재산권 분쟁 있을 경우 재산권을 주장할 수 있는 근거가 된다. 즉, 워터마킹 기술은 인터넷을 기반으로 발달하고 있는 영상, 영화, 오디오, 만화 등의 디지털 컨텐츠의 저작권을 보호하기 위해 로고, 상표, 인감, 직인 등의 저작자 정보를 숨겨두는 기술이라고 할 수 있다. 본 논문에서는 최근 빠르게 발달하고 있는 디지털 워터마킹 기술을 소개하고 동향을 분석하여 국내의 워터마킹 기술의 발전 방향을 제시하고자 한다.