• Journal of the Korean Society for Library and Information Science
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• v.32 no.2
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• pp.295-307
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• 1998

This article is an overview of the digital library project, indicating what roles Koreas diverse digital collections may play. Our digital library prototype has simple architecture, consisting of digital repositories, filters, indexing and searching, and clients. Digital repositories include various types of materials and databases. The role of filters is to recognize a format of a document collection and mark the structural components of each of its documents. We are using a database management system (ORACLE and ConText) supporting user-defined functions and access methods that allows us to easily incorporate new object analysis, structuring, and indexing technology into a repository. Clients can be considered browsers or viewers designed for different document data types, such as image, audio, video, SGML, PDF, and KORMARC. The combination of navigational tools supports a variety of approaches to identifying collections and browsing or searching for individual items. The search interface was implemented using HTML forms and the World Wide Web's CGI mechanism.

• Journal of KIISE
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• v.45 no.3
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• pp.311-320
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• 2018

Recently, the use of digital audio and video as proof in criminal and all kinds of litigation is increasing, and scientific investigation using digital forensic technique is developing. With the development of computing and file editing technologies, anyone can simply manipulate video files, and the number of cases of manipulating digital data is increasing. As a result, the integrity of the evidence and the reliability of the evidence Is required. In this paper, we propose a technique for extracting the Electrical Network Frequency (ENF) through a grid of power grids according to the geographical environment for power supply, and then performing signal processing for peak detection using QIFFT. Through the detection algorithm using the standard deviation, it was confirmed that the video file was falsified with 73% accuracy and the forgery point was found.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.106-123
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• 2024

This article takes the talk show "Beast Town" as an example to introduce the overall technical solution, technical difficulties and countermeasures for the combination of cartoon virtual characters and virtual studio technology, providing reference and experience for the multi-scenario application of digital humans. Compared with the live broadcast that combines reality and reality, we have further upgraded our virtual production technology and digital human-driven technology, adopted industry-leading real-time virtual production technology and monocular camera driving technology, and launched a virtual cartoon character talk show - "Beast Town" to achieve real Perfectly combined with virtuality, it further enhances program immersion and audio-visual experience, and expands infinite boundaries for virtual manufacturing. In the talk show, motion capture shooting technology is used for final picture synthesis. The virtual scene needs to present dynamic effects, and at the same time realize the driving of the digital human and the movement with the push, pull and pan of the overall picture. This puts forward very high requirements for multi-party data synchronization, real-time driving of digital people, and synthetic picture rendering. We focus on issues such as virtual and real data docking and monocular camera motion capture effects. We combine camera outward tracking, multi-scene picture perspective, multi-machine rendering and other solutions to effectively solve picture linkage and rendering quality problems in a deeply immersive space environment. , presenting users with visual effects of linkage between digital people and live guests.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.45 no.2
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• pp.81-89
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• 2008

Wideband speech, characterized by a bandwidth of about 7 kHz (50-7000 Hz), provides a substantial quality improvement in terms of naturalness and intelligibility. Although higher data rates are required, it has extended its application to audio and video conferencing, high-quality multimedia communications in mobile links or packet-switched transmissions, and digital AM broadcasting. In this paper, we present a new bandwidth-scalable coder for wideband speech and audio signals. The proposed coder spits 8kHz signal bandwidth into two narrow bands, and different coding schemes are applied to each band. The lower-band signal is coded using the ITU-T G.729/G.729E coder, and the higher-band signal is compressed using a new algorithm based on the gammatone filter bank with an invertible auditory model. Due to the split-band architecture and completely independent coding schemes for each band, the output speech of the decoder can be selected to be a narrowband or wideband according to the channel condition. Subjective tests showed that, for wideband speech and audio signals, the proposed coder at 14.2/18 kbit/s produces superior quality to ITU-T 24 kbit/s G.722.1 with the shorter algorithmic delay.

• Journal of Broadcast Engineering
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• v.22 no.2
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• pp.214-233
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• 2017

For people with physical or sensory limitations, broadcasting is the main means of information acquisition and leisure. Recently, changes in the media environment, such as convergence of broadcasting and communication, digital mobile conversion of broadcasting, and active media usage behavior of users, make broadcasting accessibility of the disabled difficult, and as a result, the information gap between the disabled and the non-disabled is increasing. A notice on broadcasting rights for the disabled was enacted in consequence of the amendment of the Broadcasting Law in July 2011 and the web accessibility guideline became more effective with the amendment of the National Informatization Act in 2013 so that legal basis for the right of media access for the disabled was established. However, media services for them are still lacking quantitatively and qualitatively. In this study, we describe the present status of the audio description service for the visually impaired, and analyze the results of the questionnaire survey on the usage status, satisfaction and improvement requirements of the audio description service for 100 visually impaired people.

• Journal of Intelligence and Information Systems
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• v.24 no.2
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• pp.21-35
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• 2018

Since the introduction of MP3 players, CD recordings have gradually been vanishing, and the music consuming environment of music users is shifting to mobile devices. The introduction of smart devices has increased the utilization of music through music playback, mass storage, and search functions that are integrated into smartphones and tablets. At the time of initial MP3 player supply, the bitrate of the compressed music contents generally was 128 Kbps. However, as increasing of the demand for high quality music, sound quality of 384 Kbps appeared. Recently, music content of FLAC (Free License Audio Codec) format using lossless compression method is becoming popular. The download service of many music sites in Korea has classified by unlimited download with technical protection and limited download without technical protection. Digital Rights Management (DRM) technology is used as a technical protection measure for unlimited download, but it can only be used with authenticated devices that have DRM installed. Even if music purchased by the user, it cannot be used by other devices. On the contrary, in the case of music that is limited in quantity but not technically protected, there is no way to enforce anyone who distributes it, and in the case of high quality music such as FLAC, the loss is greater. In this paper, the author proposes an audio watermarking technology for copyright protection of high quality stereo music. Two kinds of information, "Copyright" and "Copy_free", are generated by using the turbo code. The two watermarks are composed of 9 bytes (72 bits). If turbo code is applied for error correction, the amount of information to be inserted as 222 bits increases. The 222-bit watermark was expanded to 1024 bits to be robust against additional errors and finally used as a watermark to insert into stereo music. Turbo code is a way to recover raw data if the damaged amount is less than 15% even if part of the code is damaged due to attack of watermarked content. It can be extended to 1024 bits or it can find 222 bits from some damaged contents by increasing the probability, the watermark itself has made it more resistant to attack. The proposed algorithm uses quantization in DCT so that watermark can be detected efficiently and SNR can be improved when stereo music is converted into mono. As a result, on average SNR exceeded 40dB, resulting in sound quality improvements of over 10dB over traditional quantization methods. This is a very significant result because it means relatively 10 times improvement in sound quality. In addition, the sample length required for extracting the watermark can be extracted sufficiently if the length is shorter than 1 second, and the watermark can be completely extracted from music samples of less than one second in all of the MP3 compression having a bit rate of 128 Kbps. The conventional quantization method can extract the watermark with a length of only 1/10 compared to the case where the sampling of the 10-second length largely fails to extract the watermark. In this study, since the length of the watermark embedded into music is 72 bits, it provides sufficient capacity to embed necessary information for music. It is enough bits to identify the music distributed all over the world. 272 can identify $4*10^{21}$, so it can be used as an identifier and it can be used for copyright protection of high quality music service. The proposed algorithm can be used not only for high quality audio but also for development of watermarking algorithm in multimedia such as UHD (Ultra High Definition) TV and high-resolution image. In addition, with the development of digital devices, users are demanding high quality music in the music industry, and artificial intelligence assistant is coming along with high quality music and streaming service. The results of this study can be used to protect the rights of copyright holders in these industries.

• Journal of Broadcast Engineering
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• v.21 no.3
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• pp.436-449
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• 2016

This paper compares the transport overhead of MMT (MPEG Media Transport) with that of MPEG-2 TS (Transport Stream). MPEG-2 TS is globally used in multiplexing compressed audio and video data in digital broadcast industry, including areas of DTV (Digital Television), IPTV (Internet Protocol Television), and DMB (Digital Multimedia Broadcasting). It was the early 1990s when MPEG-2 TS standard was established. After more than two decades of years since its first establishment, many parts of MPEG-2 TS turned out to be inappropriate to today's broadcast and communication environment. Given the situations, in 2014 MPEG (ISO/IEC JTC 1 SC 29/WG 11) standardized MMT as the next-generation multimedia transport standard hopefully that can replace MPEG-2 TS. In this paper, with assumptions of broadcast service scenarios we applied both MMT and MPEG-2 TS to each scenario and we calculated their transport overheads. We used a software program that counts the transport overhead, which was developed in our laboratory for this paper. And we conducted a comparative analysis based on the calculated result of transport overhead.

• The Journal of the Korea Contents Association
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• v.7 no.6
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• pp.69-78
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• 2007

In recent years, embedded mobile systems have been expanding their application domains from embedded portable devices which only execute a specialized application such as MP3 player or digital camcoder to digital convergence devices which execute more complicated applications converged various functionalities such as video and audio play, digital dictionary, DMB, games, phone, etc. As it requires the increasing hardware performance such as more faster CPU and more larger RAM, display, disk size, it has brought about a corresponding increase in power consumption. However, coupled with relatively small gains in battery capacity over recent years, the importance of software architecture including intelligent power management has become paramount. In this paper, we have ported UbiFOSTM with energy saving techniques on the ARM9-based MBA2440 platform. For energy savings, we adapted the dynamic power management and the device power management schemes based on monitoring workload. Experimental results with some well-known applications show that proposed low power technique could save energy up to 24 %.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.34 no.9B
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• pp.923-930
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• 2009

Digital Rights Management(DRM) is a term that refers technologies for imposing limitations on the use of digital content for protecting media copyright holders. This paper proposes a generic scheme for digital media copy protection that can be applied to any digital media such as audio, video, etc. The scheme will make it very hard to play a copied content on a foreign platform and to guess secret content encryption keys. Unlike other DRM techniques, the scheme uses the stream cipher HC-256 only for encrypting media content and it allows a client to start content playback immediately following its streamed decryption. As to the encryption, it requires to generate several secret keys for each new client(player copy), rather than for each media content, which makes it scalable in terms of managed keys. Also, for simplicity, the scheme supports the popular unlimited-play-after-download policy only, which would eliminate the necessity for deploying separate server or process for licensing.

• Journal of Korean Society of Archives and Records Management
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• v.5 no.2
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• pp.183-193
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• 2005

A large part of the vast amounts of information produced in the world is born digital, and comes in a wide variety of formats: text, database, audio, film, image. During the meeting of the Organization's Executive Board in May 2001, Member States agreed on the need for rapid action to safeguard digital heritage. The interest of UNESCO in this situation comes as no surprise. UNESCO exists in part to encourage and enable the preservation and enjoyment of the cultural, scientific and information heritage of the world's peoples. The growth of digital heritage and its vulnerability could hardly go unnoticed. Our societies have witnessed the end of the paradigm of the written archive, a paradigm that had developed over hundreds of years. Throughout the twentieth century new media have wisely and modestly joined this prestigious tradition. This paradigm has already been transformed, and the devices in place are unable to deal with the brutal advance of information technologies, and the quantitative inflation which they cause. This goes beyond those institutions specializing in the management of memory: a whole new regime of information will have to be constructed, and quickly, completely transforming old memory and archiving systems. If this shift does not take place, our societies will suffer irremediable damage in their collective social memory.