• Smart Media Journal
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• v.13 no.4
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• pp.94-103
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• 2024

The eyeball input system is a text input system designed based on 'eye tracking technology' and 'virtual keyboard character-input technology'. The current virtual keyboard structure used is a rectangular QWERTY array optimized for a multi-input method that simultaneously utilizes all 10 fingers on both hands. However, since 'eye-tracking technology' is a single-input method that relies solely on eye movement, requiring only one focal point for input, problems arise when used in conjunction with a rectangular virtual keyboard structure designed for multi-input method. To solve this problem, first of all, previous studies on the shape, type, and movement of muscles connected to the eyeball were investigated. Through the investigation, it was identified that the principle of eye movement occurs in a circle rather than in a straight line. This study, therefore, proposes a new key arrangement wherein the keys are arranged in a circular structure suitable for rotational motion rather than the key arrangement of the current virtual keyboard which is arranged in a rectangular structure and optimized for both-hand input. In addition, compared to the existing rectangular key arrangement, a performance verification experiment was conducted on the circular key arrangement, and through the experiment, it was confirmed that the circular arrangement would be a good replacement for the rectangular arrangement for the virtual keyboard.

• Journal of Broadcast Engineering
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• v.16 no.1
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• pp.23-32
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• 2011

Design and Implementation of Clipcast Service via Terrestrial DMB This paper outlines the system design and the implementation process of clipcast service that can send clips of video, mp3, text, images, etc. to terrestrial DMB terminals. To provide clipcast service in terrestrial DMB, a separate data channel needs to be allocated and this requires changes in the existing bandwidth allocation. Clipcast contents can be sent after midnight at around 3 to 4 AM, when terrestrial DMB viewship is low. If the video service bit rate is lowered to 352 Kbps and the TPEG service band is fully used, then 320 Kbps bit rate can be allocated to clipcast. To enable clipcast service, the terminals' DMB program must be executed, and this can be done through SMS and EPG. Clipcast service applies MOT protocol to transmit multimedia objects, and transmits twice in carousel format for stable transmission of files. Therefore, 72Mbyte data can be transmitted in one hour, which corresponds to about 20 minutes of full motion video service at 500Kbps data rate. When running the clip transmitted through terrestrial DMB data channel, information regarding the length of each clip is received through communication with the CMS(Content Management Server), then error-free files are displayed. The clips can be provided to the users as preview contents of the complete VOD contents. In order to use the complete content, the user needs to access the URL allocated for that specific content and download the content by completing a billing process. This paper suggests the design and implementation of terrestrial DMB system to provide clipcast service, which enables file download services as provided in MediaFLO, DVB-H, and the other mobile broadcasting systems. Unlike the other mobile broadcasting systems, the proposed system applies more reliable SMS method to activate the DMB terminals for highly stable clipcast service. This allows hybrid, i.e, both SMS and EPG activations of terminals for clipcast services.

• Cartoon and Animation Studies
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• s.41
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• pp.511-531
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• 2015

The underlying impetus of the birth of animated film is attraction about a moving image. And the animation image occurs from the process of performative relationship between an animator and apparatus. Therefore, analysing the method how the moving image is constructed will be the focal starting point to deal with an animated film as a text. In this context, that conveys the theme in more sensuous way will be examined in a dimension of the material, technique and image-making method. KIM Jin-man's is a Stop Motion Animated Film with Noodlescreen about a journey of a fish that wishes to go outside of the water. KIM created original and friendly images out of plain thin noodle which is a common ingredient in Korea, and dealt with the ontological introspection based of the concept of Nondualism. Nondualism based on the interconnected and cyclical eastern philosophy which is different from the western dualistic theory points to the idea that the universe and all its multiplicity are ultimately expressions or appearances of one essential reality. This paper focuses on KIM's recent work and sees how Nondualism is applied throughout the animated film by analysing the performative method of mediums, technique, and structure. First of all, the form of Noodlescreen will be reviewed in Chapter Two. Pinscreen Animation which was invented by Alexander Alexeieff and Claire Parker will be also compared with Noodlescreen in the aesthetic viewpoint here. In Chapter Three, it will be analysed how the description of the image of binary opposition itself provides expanded sense and rich metaphor. Lastly, the format of Mise-en-abyme going constantly towards outer space will be dealt how it exposes the cinematic illusion and spatiality in Chapter Four. Throughout the whole chapters, it will reviewed how the concept of Nondualism relates the images of and deactivate the boundary of binary opposition in terms of both the story development and the visualization method. By this methodology, it will be confirmed that image of animated film not only explains the narrative but also activates the perception about the theme and provides integrated sensory experiences in the independent and expanded dimension.

• Trans-
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• v.15
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.