• Journal of Broadcast Engineering
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• v.27 no.5
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• pp.654-664
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• 2022

Immersive content overcomes spatial limitations through convergence with extended reality, artificial intelligence, and photogrammetry technology along with interest due to the COVID-19 pandemic, presenting a new paradigm in the content market such as entertainment, media, performances, and exhibitions. However, it can be seen that in order for realistic content to have sustained public interest, it is necessary to study storytelling method that can increase immersion in content rather than technological freshness. Therefore, in this study, we propose a immersive content storytelling method using artificial intelligence and photogrammetry technology. The proposed storytelling method is to create a content story through interaction between interactive virtual beings and participants. In this way, participation can increase content immersion. This study is expected to help content creators in the accelerating immersive content market with a storytelling methodology through virtual existence that utilizes artificial intelligence technology proposed to content creators to help in efficient content creation. In addition, I think that it will contribute to the establishment of a immersive content production pipeline using artificial intelligence and photogrammetry technology in content production.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.18 no.5
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• pp.39-54
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• 2018

This study aims to expand K-Wave business. For this, it firstly investigated previous studies and pointed out limitations of the current scope of the K-Wave business. Therefore, as a theoretical background, it attempts to construct an analysis framework based on four types of creativity type model and to redefine the concept of K-Wave business, which refers to a series of business activities that create, utilize the asset, and reuse the originality of intellectual property assets. This study analyzes the business activities of K-Wave's asset creation, utilization, and talent linkage during 2013~2017. The scope of the asset creation covers the highest ranked movies, dramas, and K-pops, while the utilization of those is analyzed in cosmetics, food, and fashion industries. The personal talent is the source of new K-Wave value creation and Webtoon IP is analyzed. As a result, in the case of movies and dramas, the representative market is China, which is the result of the efforts to avoid the continuation of China's regulation and the development of local OTTs. It is confirmed that the product development for Chinese consumers is active as activities of K-Wave utilization in cosmetics, food and fashion. Interesting is that new K-Wave content is circulated in the beauty sector. Finally, it is confirmed that Webtoon IP, which has been structured with a solid story in individual talent, is the origin of new K-Wave asset creation such as movies and dramas.

• Journal of Korean Library and Information Science Society
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• v.45 no.4
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• pp.67-93
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• 2014

This study aims to present a direction for local libraries on how to collect folk culture content and provide services in cooperation with public libraries across the country, with a focus on public libraries, in implementing the government policy to collect, classify, store, research, and utilize folk culture content. Results of the study drawn from literature review, surveys, case-studies are as follows: First, based on the advantage of higher accessibility than other institutions in charge of folk culture content provision, libraries should take a role to collect, store, and utilize folk culture content for public purpose of improving knowledge and interests of residents and storing local history. Second, folk culture content collection, enhanced content-creating, and user-oriented services reflecting various demands should be expanded, seeking ways to improve management conditions of folk culture content based on collaboration network between libraries, along with drawing interests and support from the local government and the central government. Thirdly, libraries should provide expanded services of collection, creation, use of folk culture content with a focus on local culture through regular and systematic study and building of folk culture content.

• Cartoon and Animation Studies
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• s.45
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• pp.147-175
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• 2016

This thesis aims to research ways for the regional balanced development of cartoon creation & production environment being centered in metropolitan area in Korean cartoon industry which has rapidly changed since 2013. As a cartoon can not only be produced with relative lower production cost comparing to those of other cultural contents industries, but also can be produced only if the minimal requirements for cartoon production is prepared, so the cartoon is a field that the decentralization can be accomplished very easily. Currently, most cartoon-relevant companies and cartoon promotion institutions are located in Seoul an Bucheon, etc. However, cartoon artists live nationwide, and even cartoon artists producing their works abroad are reached to a significant number. In some regions like Daejeon, Busan, Suncheon and Gyeongbuk (Gyeongsangbuk-do), there have been appeared full-scale movement to construct regional cartoon creation & production centers since 2015. This thesis aimed to investigate each region's movement to construct cartoon creation & production center with oversea cases, and to check how such movement could be balanced and harmonized with each region's unique features. First of all, this thesis analyzed the status quo of government's policy nurturing the cartoon industry. Korean government's cartoon-promotion policy around the axis of the Cartoon Industry's Mid.Long-Term Development Plan has been developed around the Korea Creative Content Agency and the Korea Manwha(cartoon) Contents Agency in Bucheon, but as the webtoon industry has rapidly grown up, the necessity for building a cartoon promotion institution in each region has been raised since 2015. With the establishment of 4th Cartoon Industry Mid.Long-Term Development Plan to be executed from 2019, it seems that full-scaled support framework for cartoon regional balanced development should be occupied. For the case of foreign countries, cartoon promotion institutions and relevant events have been developed around regions from early times like San-Diego, USA(Comicon), Angouleme, France(National Image Center), Kyoto (Cartoon Museum), Sakaiminato(Misuki Sigeru Road), Japan gave a lot of implications. In the section of conclusion, this study aimed to suggest the importance of and necessity for establishing a cartoon creation & production center in each region appropriately for the region's identity and characteristics with specific plans. Based on that, this thesis aimed to suggest a vision for cartoon & webtoon industry that regional creation & production system can be settled almost only in the cultural contents industry.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2003.10a
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• pp.292-295
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• 2003

This paper presents the architecture and its function of Tool server. MPEG-21 will enable all-electronic creation, delivery and trade of digital multimedia content and transparent usage of various content types on network device. Therefore, we can provide access to information and services from almost anywhere at anytime with various terminals and networks. In order to support multimedia delivery chain that contains content creation, production, delivery and consumption, we need some elements to identify, describe, manage and protect the contents. Thus, we define Digital Item Processing(DIP), Digital Item Adaptation(DIA) server and Tool server as primary objects of MPEG-21 multimedia framework. DIP provides a function which creates and consumes Digital Item(DI) as a kind of a digital object by user. DIA server adapts the original DI to the usage environment description sent from the terminal and transmits the adapted DI to the terminal. Tool sewer searches for a tool requested from DIP or DIA and downloads the best tool to DIP or DIA server. In this paper, we present how Tool server is organized and is used among 2 primary objects. The paper is structured as following: Section 1 briefly describes why MPEG-21 is needed and what MPEG-21 wants. We see the basic architecture of tool server and its functionality by each module in section 2. Section 3 explains a scenario that tool server transmits tool to DIP or DIA. The paper concludes in section 4.

• Industry Promotion Research
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• v.3 no.1
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• pp.49-60
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• 2018

Cultural content is also the result of 'creation', but it is also the 'process' of understanding creation, practice, and difference. Therefore, content should be selected as high-quality content that fills the contents of fusion and knowledge, while it is popular. Confucius, the founder of East Asian humanism, influenced the philosophy of food and shelter, and the dietary life in the late Joseon period. Confucius influenced not only Confucian scholars but also the food hall of the Joseon Dynasty. "mwon-kyungje" Jeongjo-ji is an encyclopedia of food and cuisine, which consists of four volumes of seven chapters and deals with ingredients, recipes and benefits of foods and the relevant taboos. Here the author compiled more than a thousand recipes not just for meat and vegetable dishes but for various kinds of beverage such as soft and boiled drink, for confectionery sweets such as honey cookies and sugar candies, and even for wine and liquor "mwon-kyungje" As he lived to the age of 72, he looked back at his life and said that he should be careful about what to do and how to do well. The food culture of Confucius has been recorded in the daily life of the Josin period and is influenced by Suwon Seo-gu, "mwon-kyungje".

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.19 no.3
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• pp.1-11
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• 2024

Content is now recognized as a key resource to sustain competitive advantage in the OTT market and for e-commerce companies. Coupang is pursuing a content growth strategy to maximize the lock-in effect that binds consumers to the subscription economy and its ecosystem. Given this background, this study aims to explain Coupang's content growth momentum through a case study method and examine Coupang's content strategy in detail. Based on this, this study describes Coupang's content growth strategy in detail and confirms that Coupang differentiates its content from the competition by focusing on sports and low prices to build a lock-in effect in the subscription economy. As a result, we can summarize that the purpose of Coupang's content strategy is to build a lock-in effect for the subscription economy based on content differentiation focused on sports, a bundle strategy linked to e-commerce, and a low-cost strategy. This study contributes to the field of venture creation research by carefully analyzing how Coupang grew from a venture firm to a Decacorn corporation and developed the influence of its content in a completely different industry, and systematically explains the importance of content strategy in strengthening the lock-in effect for the subscription economy. Future research should compare the impact of content strategy of venture and startups in the contents industry to broaden the scope of research in the field and suggest deeper lessons learned.

• Journal of the Korea Society of Computer and Information
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• v.29 no.9
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• pp.137-144
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• 2024

Digital advertising, both indoors and outdoors, is evolving from traditional 2D formats to more immersive 3D forms. 3D advertising involves creating 3D content and displaying it through large LED installations on two sides of a building's corner, or using 3D hologram projectors indoors. This study examines the production process of 3D hologram projectors used indoors and LED-based 3D content used outdoors, analyzing potential issues and considerations when creating 3D digital advertising content. The findings reveal that while indoor hologram projector content provides 3D effects, the low resolution of the devices makes it challenging to implement complex content. However, they are cost-effective and easy to operate. On the other hand, LED-based 3D advertising content, produced in high resolution, requires more time for content creation and incurs higher hardware installation costs. Despite this, it effectively represents complex content and maximizes visibility due to its enhanced 3D effects. In conclusion, it is crucial to create tailored content that matches the resolution of the display device to maximize 3D effects in advertising. Specifically, when producing 3D billboard-style outdoor advertising content, the structure of the building on which it will be installed must be carefully considered.

• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.222-235
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• 2008

This study looks at motivations of video UCC users as a member of creative class. A qualitative research method was used for analyzing data collected by interviews. Killing time users, active clickers and creators are distinguished as different types of UCC users and their differing motivations are explored. The findings of the study are as follows: First, information sharing, self presentation, communication needs, ease of use for self presentation, usefulness are expressed as motivating factors for both active clickers and creators, Pleasure motivates every type of users. However, content creators experience a specific type of pleasure which is the pleasure of creativity or flow, which this study highlights as a key driving factor for content creators. The study adds to the findings of UCC user research which applies the TAM and the PAD model by revealing what pleasure and flow specifically mean for different types of UCC users.

• Archives of design research
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• v.13 no.3
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• pp.235-244
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• 2000

The form or interpretation of today's communication design lies in content development and storytelling to the designer. However, the understanding as well as exteriment of the mechanisms behind content creation remain an obscure concept. Particularly given the rapid development of digital technology, since the 1980s typography has been quickly transforming itself from its static state to the more dynamic'Type in Motion'. following this came the need for solid research in'Type in Motion'as the best means of presenting story content and form The previous passage has studied the effectiveness of'Type in Motion'in presenting this kind of content. Type in Motion has allowed vast developments in the methods of story presentation. It is Due that today's digital technology has given many benefits to the designer, but on the other hand, it has required a more diverse understanding of digital design. furthermore, even the designers in digital typography lack the understanding and research in'Type in Motion'not only as a mode of visual language but also of verbal language. Given this point· in hand, the entire interpretation and interrelation of story and'Type in Motion'can be considered essential, given their shaping of effective digital typography.