• Journal of Arbitration Studies
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• v.26 no.2
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• pp.27-44
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• 2016

The use of program formats has slowly but surely developed into an important component of the television industry. This article examines the surprising gap between the constantly growing, multi-billion-dollar trade of program formats and their unclear and contradictory legal treatment. From both the social and commercial standpoints, television formats are valuable creations. Understanding the two products, the paper and program stages, of a television format and their respective markets, is fundamental to discussions of its legal protection. Interestingly, under current law, the less-developed stages of the process (program ideas and paper formats) are awarded more protection than the aired program format, which accumulates higher levels of investment, creativity, and expression. Internal industry mechanisms, such as vertical integration, damage to reputation, and industry institutions, exist in both markets and are still able to control and influence members' behavior to some extent. However, while the influence of internal industry mechanisms is still strong in the paper format market, in the program format market, which continues to grow, such mechanisms have weakened, amplifying the importance of a clear legal system. The absence of protection will certainly not completely eliminate the production of new program formats. However, these factors do not add up to a case against protection. The changes in the program format market in the last two decades support the theory that the overall effect of providing legal protection for TV formats would promote beneficial competition and encourage more original creations. The underlying question for television formats should not be whether to protect but rather how.

• Journal of Contemporary Eastern Asia
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• v.16 no.2
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• pp.59-81
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• 2017

The emergence of the new audiences floating across multimedia platforms and engaging in TV production and distribution have forced producers and broadcasters to think of not only the fragmented distribution of their content but also the development of a new format beyond the frame of traditional TV production. A Korean entertainment TV show My Little Television combining the form of live webcasting and traditional TV show reflects such a trend. Because of the distinct format, My Little Television carries out a unique strategy in managing the two screens - Internet and TV. The dualistic production requires all players to understand not only online subculture and communication styles and methods, but also implicit and explicit rules of traditional TV production. Through text and visual image analysis on the show, this study discusses how MLT negotiates with the original Internet text, the producers' paratext, and the supertext of the national TV network in the context of the transitory screen culture.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.709-719
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• 2016

This study reviews the so-called 'format-export' of Korean TV entertainment programs to China, and ahalyze its effect on the spread of Hallyu in China. Format export has developed as an alternative for the export of Korean TV programs when the Chinese government restrict the broadcasting of foreign TV programs. In so doing, the study conducted surveys about the format-exported programs in Shanghai and Zhengzhou with the sample of 381 university students. The survey shows that the popularity of entertainment programs is so high as to compete with the popularity of K-pop. Respondents in Zhengzhou tend to watch format-exported programs first and then try to watch original Korean programs, while respondents in Shanghai are more likely to watch original Korean programs. This results suggest that format-export can help the spread of Hallyu in the inland local cities in China.

• Journal of Broadcast Engineering
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• v.8 no.3
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• pp.288-296
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• 2003

ATSC (Advanced Television System Committee) has specified 18 video formats for DTV (Digital Television), e.g., scan format, size format, and frame rate format conversion. Effective MPEG-2 video transcoders should support any conversion between the above-mentioned formats. Scan format conversion Is hard to Implement because it may often induce frame rate and size format conversion together. Especially. because of picture type conversion caused by scan format conversion, the computational burden of motion estimation (ME) in transcoding becomes serious. This paper proposes a fast ME algorithm for MPEG-2 video transcoding supporting scan format conversion. Firstly, we extract and compose a set of candidate motion vectors (MVs) from the input bit-stream to comply with the re-encoding format. Secondly, the best MV is chosen among several candidate MVs by using a weighted median selector. Simulation results show that the proposed ME algorithm provides outstanding PSNR performance close to full search ME, while reducing the transcoding complexity significantly.

• Proceedings of the IEEK Conference
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• 2003.07e
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• pp.2040-2043
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• 2003

General-purpose MPEG-2 video transcoders must be able to achieve any conversion between 18 ATSC (Advanced television system committee) video formats for DTV (digital television), e.g., scan format, size format, and frame rate format conversion. Especially, scan format conversion is hard to implement because frame rate and size format conversion often happen together. This paper proposes a fast motion estimation(ME) algorithm for MPEG-2 video transcoding supporting scan format conversion. Firstly, we extract and compose a set of candidate motion vectors (MV's) from the input bit-stream to comply with the re-encoding format. Secondly, the best MV is chosen among several candidate MV's by using a weighted median selector. Simulation results show that the proposed ME algorithm reduces significantly transcoding complexity with a minor PSNR degradation.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2006.11a
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• pp.91-94
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• 2006

Digital Multimedia Broadcasting (DMB) Multimedia Application Format (MAF) [3] specify how to combine the variety of DMB contents with associated information for a presentation in a well-defined format that facilitates interchange, management, editing, and presentation of the DMB contents. The current metadtata specification for DMB MAF [3] is based on TV-Anytime metadata tools. In this paper, we overview the general application scenarios of DMB MAF and then explore the TV-Anytime metadata tools and usage examples proposed for DMB MAF.

• The Journal of the Korea Contents Association
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• v.8 no.10
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• pp.104-113
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• 2008

Since 1995, starting period of cable TV in Korea, drama became the most economic genre of TV programs : they are the number one genre of exportation with Korean wave ; the most preferred genre of IP-TV, DMB, etc. This study will show how Korean TV dramas are distributed in the various windows and the characteristics of each windows. Recently, remake of original script, format sale, aggregation and packaging became another distribution methods of TV programs.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.27-32
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• 2020

This study analyzed the influence of the format import of Korean entertainment programs on the Chinese broadcasting industry. To this end, an in-depth interview was conducted with the production staff of Chinese broadcasting stations. As a result of the analysis of this study, it was found that the format and production method of Chinese entertainment programs began to change from the time the format of Korean entertainment programs was imported.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.48 no.6
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• pp.61-67
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• 2011

Stereoscopic 3D video can be transmitted by frame-compatible packing format to fulfill the compatibility requirement with the existing digital TV. Then, the reduced stereo image needs to be expanded to the original size at the receiver. This paper proposes an adaptive interpolation method for the discarded image lines. The horizontal line-based linear filter and NEDI6 filter are used selectively for the interpolation of each pixel. Experimental results show that the NEDI6 combined with the horizontal line-based linear filter yields better image quality than the bilinear method by around 0.6dB.

• Archives of design research
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• v.12 no.4
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• pp.201-209
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• 1999

Feb. 11. 1997, Korean Government announced FM Radio Broadcasting and TV Terrestrial TV Broadcasting will be changed to digital format in year 2001, and all Korean Broadcasting except AM Radio and Microwave will be changed to digital format before 2010. In spite of IMF economic crisis, the Digitizing is the one of the hot issue in TV Broadcasting area. The narrow view of the Digitizing the Broadcasting is a technical development from the analogue to digital, but the extended view of it means not only the technical development but the revolution in the concept of TV and service area, relationship between sender and receiver, structure of TV Industry. Thus Digitizing the Broadcasting shifts paradigm and eventually it cause a big change in the advertising creative. The digital TV could be a very encouraging technical development for the consumers convenience because of the multiple choice in the channels and interactive services which leads us to the multimedia service through the TV . On the other hand, multimedia and multi-channel, interactivity implicate a big uncertainty and risk, This research paper is about the technical aspects and social aspects of digital TV and its influence of the marketing and TV advertising creative.