• 한국게임학회지
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• v.6 no.1
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• pp.70-72
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• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.

• Journal of the Korea Institute of Information Security & Cryptology
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• v.18 no.4
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• pp.167-174
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• 2008

As both a digital camera and a digital camcorder are popularized in recent years, UCC created by general users is also popularized. Unfortunately, according to that, the lack of privacy is also increasing more and more. The UCC is saved on the recordable media(Media) like DVD and deposited personally as well as distributed through Internet portal service. If you use Internet portal service to put up your contents, you can partially prevent the violation of privacy using security technologies such as authentication and illegal copy protection offered by internet portal service providers. Media also has technologies to control illegal copy. However, it is difficult to protect your privacy if your Media having personal contents is stolen or lost. Therefore, it is necessary to develope an additional security mechanism to guarantee privacy protection when you use Media. In this paper, we describe AACS framework for Media Security and propose improved AACS framework to control the access to personal contents saved on Media.

• The Journal of the Korea Contents Association
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• v.21 no.2
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• pp.507-519
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• 2021

This paper attempts to explore advertising factors that affect TikTok advertising effectiveness by identifying motivations to use a short-form video social media platform, TikTok and further looking at perceptions of and attitudes toward TikTok advertising. The results of in-depth interviews with 20s-30s TikTok users suggest that users are motivated to use TikTok for information and fun. Further, TikTok is characterized as a short-form video, rich contents, and a novel format. Regarding TikTok advertising, the results reveal that usefulness, enjoyment, easiness of advertising skip, sense of closeness, and interaction are significant factors of TikTok advertising. Finally, it is suggested that users respond to the advertising by clicking 'like', writing comments, sharing, clicking 'purchase link'/advertiser's website, and creating user-created contents and so on. These findings theoretically contribute to the literature on social media advertising, and practically offer strategic guidelines for TikTok advertising.

• Proceedings of the Korea Information Processing Society Conference
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• 2016.10a
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• pp.114-116
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• 2016

Recently, SDN and NFV technology have been developed actively and provide enormous flexibility of network provisioning. The future network services would generally involve many different types of services such as hologram games, social network live streaming videos and cloud-computing services, which have dynamic service requirements. To provision networks for future services dynamically and efficiently, SDN/NFV orchestrators must clearly understand the service requirements. Currently, network provisioning relies heavily on QoS parameters such as bandwidth, delay, jitter and throughput, and those parameters are necessary to describe the network requirements of a service. However it is often difficult for users to understand and use them proficiently. Therefore, in order to maintain interoperability and homogeneity, it is required to have a service abstraction layer between users and orchestrators. The service abstraction layer analyzes ambiguous user's requirements for the desired services, and this layer generates corresponding refined services requirements. In this paper, we present our initial effort to design a Smart Service Abstraction Layer (SmSAL) for future network architecture, which takes advantage of machine learning method to analyze ambiguous and abstracted user-friendly input parameters and generate corresponding network parameters of the desired service for better network provisioning. As an initial proof-of-concept implementation for providing viability of the proposed idea, we implemented SmSAL with a decision tree model created by learning process with previous service requests in order to generate network parameters related to various audio and video services, and showed that the parameters are generated successfully.

• Journal of Korea Multimedia Society
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• v.7 no.8
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• pp.1066-1077
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• 2004

Dramatic increase in the number of Internet users want highly qualified service of continuous media contents on the web. To solve these problems, we present two network caching schemes(PPC, PPCwP) which consider the characteristics of continuous media objects and user access pattern in this paper. While there are plenty of reasons to create rich media contents, delivering this high bandwidth contents over the internet presents problems such as server overload, network congestion and client-perceived latency. PPC scheme periodically calculates the popularity of objects based on the playback quantity and determines the optimal size of the initial fraction of a continuous media object to be cached in proportion to the calculated popularity. PPCwP scheme calculates the expected popularity using the series information and prefetches the expected initial fraction of newly created continuous media objects. Under the PPCwP scheme, the initial client-perceived latency and the data transferred from a remote server can be reduced and limited cache storage space can be utilized efficiently. Trace-driven simulation have been performed to evaluate the presented caching schemes using the log-files of iMBC. Through these simulations, PPC and PPCwP outperforms LRU and LFU in terms of BHR and DSR.

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.46 no.2
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• pp.84-91
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• 2009

This paper presents an online partial 3D modeling methodology that uses a mobile augmented reality system and aerial photographs, and a tracking methodology that compares the 3D model with a video image. Instead of relying on models which are created in advance, the system generates a 3D model for a real building on the fly by combining frontal and aerial views. A user's initial pose is estimated using an aerial photograph, which is retrieved from a database according to the user's GPS coordinates, and an inertial sensor which measures pitch. We detect edges of the rooftop based on Graph cut, and find edges and a corner of the bottom by minimizing the proposed cost function. To track the user's position and orientation in real-time, feature-based tracking is carried out based on salient points on the edges and the sides of a building the user is keeping in view. We implemented camera pose estimators using both a least squares estimator and an unscented Kalman filter (UKF). We evaluated the speed and accuracy of both approaches, and we demonstrated the usefulness of our computations as important building blocks for an Anywhere Augmentation scenario.

• Korean journal of communication and information
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• v.46
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• pp.245-279
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• 2009

UCC, an abbreviation for User Created Contents, is not only a symbol of desire but also a product of creativity that a producer contains his or her subjective disposition. More and more UCC tend to have significantly increased in Web 2.0 environment. However, the research on the contents as a creative product has rarely been processed. It may be fairly said that this results in the indifference of researchers in the special field like the political contents since UCC is usually produced by amateurs. Producers' various desire is unlikely revealed, which leads to the flow of users into open media such as the Internet. It could also be available to represent the property, of plural visual language signs in a field. Moreover, UCC has the attribute of re-mediation in effective communication, so the differences between the semiotic properties in the Internet contents could be a significant material for researches. This could contribute to establish a theoretical system for the visual communication. Therefore, this study aims to analyse the signification of the political video UCC, . To develop this analysis, I apply Greimas' Generative Trajectory of Signification Theory to the text, or the UCC. He classifies it as three structures: deep structure, superficial structure, and discourse structure. As a result, the text shows meaningful contents delivering core political messages. In addition, this approach could exam that 'Obama Syndrome' in American recent presidential campaigns is caused by web 2.0 based on Internet campaigns including video UCC.

• Cartoon and Animation Studies
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• s.22
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• pp.47-63
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• 2011

Recently, contemporary cultural contents have been shown its diversity changes followed by the birth of new media platforms with consumers' new needs in the global market. Also, developments of Internet and computer system networks are the main contributors of making this changes happened rapidly. This study aims to know that how to usefully use those new media platforms through the great example of stop-motion animation music video by analyzing its production and marketing process. The music video production had been focused to be completed with high quality by adjusting the production process economically in spite of the relatively short period(less than one month)from its crank-up to the deadline. Because the production was planned that main characters lead the whole story, the creative team had been tried to reduce the production hours by commonly use the same mold when they make original clay models by collecting the similarities of characters' appearances. By using CG technic, could overcome the visual monotonous from the similarities which inferred above. Also, the repeated rhythm in the music video, the similar scenes of backgrounds were commonly used by copy of the original scene. At the point of directing, the creative team considered both economical and art aspects for the quality work. In details, they divided the scenes into foreground and background, and removed unnecessary parts to save the production hours and budget but make depth of fields in the scenes. Except the viral marketing purposes, was searching for the methods to compensate the production cost. For this, the characters in the music video dressed the same T-shirts which are world-cup logo on, and those were designed for the sale after released the music video. Even the result of the sales was not enough to satisfied, it was estimated a great attempt to the domestic animation industry.

• Journal of Korea Multimedia Society
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• v.6 no.2
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• pp.340-351
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• 2003

We introduce our experiences of the design and implementation of the Page Together system that has expanded hyperlink metaphor to utilize human resources in the web. This system supports that a user connects with others in the web, communicates through video/audio channel, navigates same web pages simultaneously and cooperates some work on Internet. For these functions, it comprises Collaborative Browsing Module (CBM), Multimedia Conferencing Module(MCM) Data Conferencing Module(I)CM) and Multi Protocol Interface(MPI). We adopted three standard protocols, IEC, H.323 and T.120 for each nodule and it allows developers to use them easily. We also defined MPI to synchronize information of session among modules. Each module exchanges information each other in session creating process and session terminating process. After a session is created once, each module works independently as its won protocol. Interferences among modules are reduced as minimizing to exchange information. We also introduce a web site that provides web board service based on the Page Together system. A user may post a notice with a link to himself/herself on our web board. After then, if someone read that notice and has any question about it, he or she can try to connect to the writer as clicking the link in that notice and communicate each other. This service site shows that our system can be applied to diverse internet services such as distance teaming and distance conference.

• Cartoon and Animation Studies
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• s.47
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• pp.1-29
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• 2017

360-degree virtual reality has been a technology that has been available for a long time and has been actively promoted worldwide in recent years due to development of devices such as HMD (Head Mounted Display) and development of hardware for controlling and executing images of virtual reality. The production of the 360 degree VR requires a different mode of production than the traditional video production, and the matters to be considered for the user have begun to appear. Since the virtual reality image is aimed at a platform that requires enthusiasm, presence and interaction, it is necessary to have a suitable cinematography. In VR, users can freely enjoy the world created by the director and have the advantage of being able to concentrate on his interests during playing the image. However, the director had to develope and install the device what the observer could concentrate on the narrative progression and images to be delivered. Among the various methods of transmitting images, the director can use the composition of the short. In this paper, we will study how to effectively apply the technique of directing through the composition of this shot to 360 degrees virtual reality. Currently, there are no killer contents that are still dominant in the world, including inside and outside the country. In this situation, the potential of virtual reality is recognized and various images are produced. So the way of production follows the traditional image production method, and the shot composition is the same. However, in the 360 degree virtual reality, the use of the long take or blocking technique of the conventional third person view point is used as the main production configuration, and the limit of the short configuration is felt. In addition, while the viewer can interactively view the 360-degree screen using the HMD tracking, the configuration of the shot and the connection of the shot are absolutely dependent on the director like the existing cinematography. In this study, I tried to study whether the viewer can freely change the cinematography such as the composition of the shot at a user's desired time using the feature of interaction of the VR image. To do this, 3D animation was created using a game tool called Unreal Engine to construct an interactive image. Using visual scripting of Unreal Engine called blueprint, we create a device that distinguishes the true and false condition of a condition with a trigger node, which makes a variety of shorts. Through this, various direction techniques are developed and related research is expected, and it is expected to help the development of 360 degree VR image.