• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.445-451
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• 2007

This study was started to not only resolve structural problems such as lack of contents, an unstable structure of earnings, and reduction of an additional market in Korean film industry through revitalizing digital cinema, but also make digital cinema become a power for growing Korean film industry furthermore. In the section of revitalizing digital cinema production, I suggest that expanding an audience base of low budget art cinema using digital technology will contribute to diversity film contents, and joint production with broadcasters by digital technology will expedite growing film industry as well as revitalizing digital cinema production. In the section of revitalizing digital cinema distribution, I insist, we should make effort positively to build reasonable hold-back and so on in order that film industry's positive participation in the market of digital film distribution and new media such as DMB or IP-TV may become an additional market to film industry. In conclusion, we can gain a foothold to leap toward a Position of cultural technology Power through efforts to resolve problems inherent in digital cinema.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2003.06a
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• pp.15-32
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• 2003

• Journal of Broadcast Engineering
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• v.9 no.2
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• pp.119-130
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• 2004

We have developed a prototype super-high-definition (SHD) digital cinema distribution system that can store, transmit, and display eight-million-pixel motion pictures that have the image quality of a 35-mm film movie. The system contains a movie server, a real-time decoder, and an SHB projector. Using a Gigabit Ethernet link and TCP/IP, the server transmits JPEG2000 compressed motion picture data streams to the decoder at transmission speeds as high as 300 Mbps. The received data streams are decompressed by the decoder, and then projected onto a screen via the projector. By using an enlarged TCP window, multiple TCP streams, and a shaping function to control the data transmission quantity, we achieved real-time streaming of SHD movie data at about 300 Mbps between Chicago and Los Angeles, a distance of more than 3000 km. We also improved the decoder performance to show movies with Image qualities of 450 Mbps or higher. Since UDP is more suitable than TCP for fast long-distance streaming, we have developed an SHD digital cinema UDP relay system, in which UDP is used for transmission over a fast long-distance network. By using four pairs of server-side-proxy and decoder-side-proxy, 450-Mbps movie data streams could be transmitted.

• Journal of Broadcast Engineering
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• v.13 no.1
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• pp.99-108
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• 2008

This raper analyzes the effect of visually lossless image compression for efficient distribution of digital cinema. Currently, distribution of digital cinema is carried out based on JPEG 2000 standard that has been selected by DCI. We first summarize characteristics of JPEG 2000, and then define the concept of visually lossless coding that plays an important role in digital cinema distribution. We provide a test for JPEG 2000 compression performance according to DCI specification for visually lossless. Based on the experiment, the result satisfies high quality for cinema distribution.

• Journal of Broadcast Engineering
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• v.14 no.1
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• pp.93-98
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• 2009

While the Motion JPEG2000 has been considered as a unique encoder for digital cinema due to its high quality coding and large screen format, the realization of a digital cinema system and its service cost enormous fund and time. In this paper a digital cinema transmission system with PC and RTP protocol over the Internet is proposed, and showed how tiles of moving images are transmitted, decoded independently and combined to reconstruct and display at a large screen for digital cinema service. The simulation has been carried out for tiles of 128${\times}$128, 256${\times}$256, 512${\times}$512, and 1024${\times}$1024 pixels. In the experiment, two clients of PC’s received and decoded tiles of video and constructed whole size of moving images successfully. The PSNR’s of the video ranges 30dB to 40dB at compression rate of 160:1 and 30dB to 50dB at and below 16:1, respectively. The result showed a possibility for the reconstruction of video in multi-vision.

• Broadcasting and Media Magazine
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• v.8 no.3
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• pp.19-29
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• 2003

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.45-58
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• 2021

This study aims to select representative performance art visualization projects that react to changes in the culture enjoyment methods and needs of contemporary performance art consumers for performance art culture value creation and vitalization that suit the Fourth Industry and a global age, verify new cultural value creation possibilities of performance projects, and look into important matters and keynotes of production processes. Focusing on the report 'NT Live-Digital broadcast of theatre Learning from the pilot season'(2011), a thorough analysis was conducted on the Royal National Theatre of England, a leading model of cinema broadcast performance visualization projects, including the purpose, production processes (copyright agreements, personnel compositions, filming and broadcasting), marketing methods, and audiences of its "NT Live" project and observations were made of production processes and cultural and artistic values that differ from existing performance art to examine administrative and financial keynotes for the sustainability of performance visualization projects. Through this, possibilities of source creations with artistic, cultural, and economic values that cinema broadcast (live performance broadcast) performance viewing methods have as a new form of performance art products can be verified. In addition, the development of various performance approaches that respond to the culture enjoyment methods and consumption patterns of audiences will result in the vitalization of performing arts visualization projects through the enhancement of popular appeal and the expansion of audience types of the performing arts field.

• Journal of Broadcast Engineering
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• v.15 no.3
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• pp.391-406
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• 2010

Digital cinema based on digital master distribution increases with stereoscopic film as the center. DCI specification V1.0 announced at 2004, it considerates stereoscopic film screening. And now, the Society of Motion Picture and Television Engineers is establishing a task force to define the standards of a stereoscopic contents viewed in the home. Today, most Hollywood commercial stereoscopic film features animation using computer graphic. However, considering film making characteristic, stereoscopic digital cinema is required shooting in real world and editing, screening. This paper presents possibility of stereoscopic examination at NLE in the stereoscopic workflow. And we will propose new stereoscopic digital cinema workflow to apply the stereoscopic examination. Based on experimental results, the 3D ready television using 120Hz has some obstacles for contents editing, but most domestic stereoscopic monitor using circular polarization is possible for successful editing.

• Journal of Broadcast Engineering
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• v.21 no.5
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• pp.714-725
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• 2016

With the recent emergence of VR contents, a lot of attention has been drawn on actual image based VR 360° video production using photography system. It was very complicated and difficult to make conventional VR contents. Therefore, such making was performed only in a research level. These days, as cameras have been made smaller, VR live-action has become more common in contents makers. In the circumstance, this study tries to compare a variety of contents making equipment based on action-cam that is mainly used for producing VR contents, and suggest their problems. To solve the problems, this study uses a cinema grade camera to do VR filming. As a result, it is revealed that, in order to make VR contents with quality, it is necessary to use a cinema grade camera, rather than an action cam, and to conduct technical research for standard lens based contents.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2012.11a
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• pp.103-104
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• 2012

본 논문에서는 디지털 영화 제작 환경에서 흔히 발생하는 얼라이싱 현상을 최소화하기 위한 방법을 제안한다. 제안된 알고리즘은 영상의 얼라이싱 현상을 웨이블릿-푸리에 분석 (Wavelet-Fourier Analysis)으로 분석하고, 노치 리젝트 필터(Notch Reject Filter)를 이용하여 얼라이싱 현상을 최소화 시켜 영상 화질을 개선한다. 실험결과에서 보듯이 제안된 알고리듬은 디지털 시네마 영상에서 얼라어싱을 효과적으로 제거하여 개선된 화질의 영상으로 관객의 몰입감을 높여줄 수 있다.