• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.525-533
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• 2020

In recent years, the VR-interactive action contents industry, which utilizes five senses of human bodies, has continued to grow through areas such as games, tourism, movies, performances and exhibitions, but it has reached to breaking point by unrealistic visual elements. Therefore, the purpose of this study is to analyze the effect of each evaluation factor based on visual immersion of interactive type of VR action contents to overcome the limitations. For this study, firstly, prior research is reviewed. Secondly, the evaluation factors of visual immersion of interactive type of VR action contents and hypothesis are to be derived. Research finding is that there is no difference to recognize proximity, three-dimensionality, visibility and immersion by gender. Also, in order to influence visual immersion, it is important that 3D modeling of characters and objects must be sophisticated to be fit in with their surroundings and lighting. This makes user to be confused where they are actually in.

• Journal of Korea Multimedia Society
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• v.17 no.9
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• pp.1104-1114
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• 2014

In large-scale crowd simulations, it is very important for the decision-making system of manipulating interactive behaviors to minimize the computational cost for controlling realistic behaviors such as collision avoidance. In this paper, we propose a large-scale realtime crowd simulation method using the affordance and navigation potential fields such as attractive and repulsive forces of electromagnetic fields. In particular, the model that we propose locally handles the realistic interactions between agents, and thus radically reduces the cost of expensive computation on interactions which has been the most problematic in crowd simulation. Our method is widely applicable to the expression and analysis of various crowd behaviors that are needed in behavior control in computer games, crowd scenes in movies, emergent behaviors of evacuation, etc.

• Proceedings of the Korea Information Processing Society Conference
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• 2017.04a
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• pp.1079-1080
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• 2017

Today multimedia technologies are playing an increasingly important role in games, movies, and live performances. In this paper, we design a flexible interactive system integrated with gesture recognition, skeleton tracking, internet communication, and content edition using multi-sensors to direct and control the performance on stage. In this system, the performer can control the elements showed on stage through corresponding gestures and body movements during the performance. The system provides an easier way for users to change the content of the performance if they intent to do.

• Journal of Korea Society of Digital Industry and Information Management
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• v.14 no.4
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• pp.149-154
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• 2018

A game story that used to be free needs a work of concrete and artificial organizing and arranging these days. This is because a game story is frequently made into a new genre such as a movie or an animation. As shown in many previous studies, most of the movies made from successful digital games failed to receive satisfying box office results. To overcome this, narratively completed storytelling should be presented from the development phase of a game. The methods are as follows: It is necessary to maximize the synergy effect through the interaction between storytelling experts, game developers, animators, and movie producers in developing a game. This will help to create a game with more sophisticated and complete narrative structure than now. It is necessary to secure the diversification of game genres. Currently in Korea, online games are unusually leading the game industry. PC games or console games are more advantageous than online games for putting a finished narrative structure into a game.

• The Journal of the Korea Contents Association
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• v.15 no.1
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• pp.114-122
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• 2015

This study has a main purpose on discussing the issue how the construction of film narrative will be changed by audience's desire to intervene into film narrative through the active participation, out of watching a film passively in movie theater. Compared with the collective theatergoing experience in big screen was defined as the past cinematic identity, the absolute value of movie theater fragmented increasingly in the era of media diversification facing with digital media convergence. As this situation can be compared with "the author's death" Roland Barthes predicted on the mono-media of the book, thus, we are to take the time to discuss the new emerging 'movies'. The most important thing in this discussion is the aspect of the transformation of narrative in the future screening. Especially, while 3 act structure and configuration evoking a catharsis in film narrative are elements defining aspect of the past narrative, then, the future narrative in film will change to the structure interacting with audience actively. This paper had a discussion how could be possible the aucience interaction in only movie valuing the passive experientiality uniquely in screening over the other media through investigating the attempts of interactive cinema so far and the possibility of future.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.6 no.11
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• pp.519-528
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• 2016

Most cultural contents currently we face are not suitable for associating with state of arts and high technology as simply providing one-sided learning. Pictures and movies of cultural contents also sees to utilize for efficacy of cultural education. There are still some limitations to draw interest from users when providing one-sided learning for cultural study, which aims to only deliver knowledge itself. In this paper, we propose interactive HMD VR cultural contents that can support more experience to get rid of aforementioned limitations. To this end, we first select quite interesting and wellknown cultural contents from world wide to draw more attention and effect. To increase immersion, presence and interactivity we have used HMD VR and Leapmotion, which intentionally draws more attention to increase interest. The cultural contents also facilitate augmented information as well as puzzle gaming components. To verify, we have carried out a user study as well.

• Korean Management Science Review
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• v.25 no.1
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• pp.123-138
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• 2008

Recently, DMB service markets experience a rapid change with terrestrial DMB test-broadcasting for the nation-wide coverage and paid interactive data broadcasting being offered utilizing TPEG and BIFS technologies. This warrants a reexamination of a consumers' adoption intentions for DMB service. This paper uses a survey data set to analyze DMB adoption intentions and the choice between terrestrial DMB and satellite DMB services according to preferred contents and other media usage characteristics. Empirical results show that consumer who prefer TV, music, and movie contents are more likely to adopt DMB service, whereas consumers with high intentions for HSDPA subscription are less likely to adopt DMB service. This implies that continuing development of killer application and the analysis of substitutes or complements of other media are crucial for the increase of DMB adoption intentions. It is found that the more consumers prefer sports, movies and entertainment/game and put higher values in the quality of the contents, the more likely they adopt satellite DMB service. Meanwhile, the more consumers prefer TV, drama and news contents, and are sensitive to the subscription fees, they are more likely to adopt terrestrial DMB service. Therefore, it seem that consumers' DMB adoption between terrestrial and satellite services is crucially related with types and characteristics of contents offered.

• Journal of Korea Multimedia Society
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• v.13 no.2
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• pp.341-347
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• 2010

The off-screen space openness of the movies converted a unilateral communication, which films have made audiences understand with, into an interactive communication. When the spectators see a movie, the off-screen space will be able to take out their positivity and induce their deep thinking. They won't accept information of the screen by manual operation but will participate in the narrative stories of the cinemas, thinking about the reality. In the paper, it shows that the motion pictures, which Jean Renoir and Michelangelo Antonioni produced, consist of the expressive forms of the off-screen space as well as a human has the ability sense, feeling, perception and memory associated with interacting between the off-screen space and audiences.

• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.375-385
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• 2020

This paper attempts to understand the reality of Netflix on the Korean film distribution market environment, and to verify the possibility of developing domestic content centered on independent films in the OTT market, led by Netflix. The research significance of finding the way for Korean diverse films and independent films that cannot be provided with investment and distribution opportunities in various Korean Wave contents will be studied, and the characteristics of Netflix in the Korean film market will be explored. Netflix disseminates Korean contents such as Korean movies and Korean dramas, contributes to the spread of the Korean Wave, and is re-adjusting the paradigm of the distribution market, raising issues that cause a virtuous cycle of profits, controversy over net usage fees, and flooding of Hollywood movies. Considering the nature of intercultural exchange, the interaction between independent film content, Netflix platform, audience, and global market will expand interactive communication opportunities. In other words, just as Netflix uses the Korean media market to make profits, Korea should also use Netflix to try to expand the global market of Korean film contents (K-Film)and maintain a cultural and economic reciprocal attitude.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.134-144
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• 2011

Crossmedia Storytelling is receiving attention as a new style of description in the age of limitless competition and infinite fusion among media. Crossmedia Storytelling specifies a form of storytelling carried out through mixed usage of plural media, such as televisions, movies, and web services. It is different from OSMU strategy in that plays one source of contents according to the characteristics of various media while Crossmedia Storytelling demands users' active participation. Moreover, it is also slightly different from Transmedia Storytelling in the point that narratives of each media are not complete themselves and only through effectively combining plural media can the whole story fully enjoyed. This research aims to analyze how users move among media in terms of Crossmedia contents by examining cases of Swedish interactive drama series , from Australia, and from the United States. To do so, first, the paper looks into the principles of Crossmedia communication and examines that it is based on online word-of-mouth communication, such as viral marketing. As a result, the following was found in the cases of Crossmedia Storytelling: negative stories that arouse users' emotional reactions & users' participation are effective, and the set-up of Sneezer, which causes the knowledge gap, is very important. It was also found that users' participation was actively taking place through online WOM communication in Crossmedia Storytelling.