• Journal of the Institute of Convergence Signal Processing
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• v.24 no.1
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• pp.42-50
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• 2023

The development of technology has achieved digital innovation throughout the media industry, including production techniques and editing technologies, and has brought diversity in the form of consumer viewing through the OTT service and streaming era. The convergence of big data and deep learning networks automatically generated text in format such as news articles, novels, and scripts, but there were insufficient studies that reflected the author's intention and generated story with contextually smooth. In this paper, we describe the flow of pictures in the storyboard with image caption generation techniques, and the automatic generation of story-tailored scenarios through language models. Image caption using CNN and Attention Mechanism, we generate sentences describing pictures on the storyboard, and input the generated sentences into the artificial intelligence natural language processing model KoGPT-2 in order to automatically generate scenarios that meet the planning intention. Through this paper, the author's intention and story customized scenarios are created in large quantities to alleviate the pain of content creation, and artificial intelligence participates in the overall process of digital content production to activate media intelligence.

• Information Systems Review
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• v.18 no.4
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• pp.89-106
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• 2016

The latest movement in live video streaming service is mobile personal broadcasting (MPB), which refers to consumers accessing the service through social media with mobile devices, such as smartphones and tablet PCs. This service is possible through the advancements in mobile video technology and platforms. Features such as enhanced user interaction, personalization, and real-time broadcasting, combined with a greater variety of content, have led to the development of MPB. The increase in MPB users calls for research, including that on the hedonic motivational angle. This study aims to assess MPB users' intrinsic motives through the hedonic-motivation system adoption model (HMSAM) using seven factors: joy, temporal dissociation, escapism, focused immersion, perceived ease of use, perceived usefulness and intention to watch. Survey data collected from 154 samples were analyzed with statistical techniques, such as structural equation modeling. Results showed that time dissociation, escapism, and perceived ease of use have a positive relationship with heightened enjoyment. Joy significantly affects focused immersion and intention to watch. Escapism also had a statistically significant influence on focused immersion. This study contributes to the advancement of the MPB study under the HMSAM theoretical framework and offers practical suggestions to managers to enhance MPB content viewership.

• Journal of Korea Multimedia Society
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• v.14 no.1
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• pp.54-75
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• 2011

PoC(Push-to-talk Over Cellular) is an integrated technology of group voice calls, video calls and internet based multimedia services. If a PoC user can not participate in the PoC session for various reasons such as an emergency situation, lack of battery capacity, then the user can use the PoC Box which has a similar functionality to the MM Box in the MMS(Multimedia Messaging Service). The RTSP(Real-Time Streaming Protocol) method is recommended to be used when there is a transmission session between the PoC box and a terminal. Since the existing VOD service uses a wired network, the packet size of RTSP-based VOD service is huge, however, the PoC service has wireless communication environments which have general characteristics to be used in RTSP method. Packet loss in a wired communication environments is relatively less than that in wireless communication environment, therefore, a buffering latency occurs in PoC service due to a play-out delay which means an asynchronous play of audio & video contents. Those problems make a user to be difficult to find the information they want when the media contents are played-out. In this paper, the following techniques and methods were proposed and their performance and superiority were verified through testing: cross-over dual reception buffering technique, advance partition multi-reception buffering technique, and on-demand multi-reception buffering technique, which are designed for effective picking up of information in media content being transmitted in short amount of time using RTSP when a user searches for media, as well as for reduction in playback delay; and same-priority packetization transmission method and priority-based packetization transmission method, which are media data packetization methods for transmission. From the simulation of functional evaluation, we could find that the proposed multiple receiving buffering and packetizing methods are superior, with respect to the media retrieval inclination, to the existing single receiving buffering method by 6-9 points from the viewpoint of effectiveness and excellence. Among them, especially, on-demand multiple receiving buffering technology with same-priority packetization transmission method is able to manage the media search inclination promptly to the requests of users by showing superiority of 3-24 points above compared to other combination methods. In addition, users could find the information they want much quickly since large amount of informations are received in a focused media retrieval period within a short time.

• Journal of Digital Contents Society
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• v.16 no.1
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• pp.137-144
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• 2015

This study tried to anticipate the near future changes of domestic online video, music service and media usage through the status quo. The research group was focused on the twenties, University students because they are the active media contents users. It surveyed the students in Busan, and used the method of descriptive statistics analysis for the understanding of the present state and near future prospect. This study shows that almost half of them use both services, and three people out of ten are the heavy users who use the services for over 3 hours a week. The streaming method is higher proportion than download method in using type. They are getting accustomed to pay contents cost, but it couldn't be said the paying content cost has been established. Preferred contents genre appears to be the RMC(Ready Made Contents) such as existing broadcaster contents and movies. Notable result on media usage was the proportion of the so-called 'Zero-TV'. It was 32%, significantly higher than the proportion of the total population(4.4%). Integrating the analysis results, we can expect that the usage pattern will be changed gradually, thus the advent of various revenue models will emerge.

• Journal of Digital Convergence
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• v.19 no.3
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• pp.453-463
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• 2021

The purpose of this study is to establish the most severe impacts of Covid-19 in the field of the performing arts and to explore countermeasures taken both at home and abroad. This study has been conducted through literature surveys. The conclusion is as follows. First, since the outbreak of Covid-19, theater venues around the world have actively taken part in uploading recorded performances to streaming services. Secondly, these performance visualizings are generally considered as being complimentary goods rather than a substitute for live performance. Thirdly, although more audiences are tuning into watch on-line performances, consumption is concentrated on a few theaters which have a worldwide reputation and a broad range of content. Fourthly, to tackle the impact that Covid-19, the UK government announced a series of job protection schemes in the field of the Arts. In addition, Arts Council England prepared an emergency response package. In Korea, some countermeasures such as government support for artists and cultural establishments have also been implemented. Lastly, some suggestions for the sector. I conclude that there is an need for domestic companies to secure core contents of significant quality and to make strategic alliances with leading overseas performance companies so that they may cooperate together.

• 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.

• 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.