• Journal of Broadcast Engineering
• /
• v.14 no.4
• /
• pp.463-474
• /
• 2009

By employing the subscriber concept in broadcasting services, IPTV (Internet Protocol Television) operators provide various grades of services to subscribers based on the billing level of the subscribers. With the income from subscribers for a basis, IPTV operators plan to provide high quality services. Since Web browser-based IPTV provides T-commerce and E-commerce services as well as television services, users may frequently visit other service domains to buy goods or content. To provide the user with charged or private services, these service domains request authentication of user. The existing authentication system is not appropriate for the IPTV service environment because the environment unavoidably forces the user to cross from one authentication-based service domain to another. Single sign-on provides a user with transparent authentication services by enabling an authenticated user to move between authentication-based service domains without any re-authentication. Like this distributed environment, since the IPTV service environment also provides a variety of authentication-based services, transparent authentication service needs to be provided to subscribers who want to access charged or private services. In this paper, we propose a new user authentication scheme for the IPTV environment. This scheme integrates the Security Assertion Markup Language (SAML), which is a standard for XML-based single sign on. We validate this scheme using a simple use case scenario.

• Journal of Broadcast Engineering
• /
• v.14 no.4
• /
• pp.450-462
• /
• 2009

So far, many methods for segmenting single images or video have been proposed, but few methods have dealt with multiple images with analogous content. These images, which we term consistent scene images, include concurrent images of a scene and gathered images of a similar foreground, and may be collectively utilized to describe a scene or as input images for multi-view stereo. In this paper, we present a method to segment these images with minimum user input, specifically, manual segmentation of one image, by iteratively propagating information via multi-level cues with adaptive confidence depending on the nature of the images. Propagated cues are used as the bases to compute multi-level potentials in an MRF framework, and segmentation is done by energy minimization. Both cues and potentials are classified as low-, mid-, and high- levels based on whether they pertain to pixels, patches, and shapes. A major aspect of our approach is utilizing mid-level cues to compute low- and mid- level potentials, and high-level cues to compute low-, mid-, and high- level potentials, thereby making use of inherent information. Through this process, the proposed method attempts to maximize the amount of both extracted and utilized information in order to maximize the consistency of the segmentation. We demonstrate the effectiveness of the proposed method on several sets of consistent scene images and provide a comparison with results based only on mid-level cues [1].

• Journal of Broadcast Engineering
• /
• v.14 no.6
• /
• pp.661-675
• /
• 2009

The carelessly and illegally copied contents are raising serious social problem as internet and multimedia technologies are advancing. Therefore, development of video copy detection system must be settled without delay. In this paper, we propose the hierarchical video copy detection method that estimates similarity using statistical characteristics between original video and manipulated(transformed) copy video. We rank according to luminance value of video to be robust to spacial transformation, and choose similar videos categorized as candidate segments in huge amount of database to reduce processing time and complexity. The copy videos generally insert black area in the edge of the image, so we remove rig black area and decide copy or not by using statistical characteristics of original video and copied video with center part of frame that contains important information of video. Experiment results show that the proposed method has similar keyframe accuracy to reference method, but we use less memory to save feature information than reference's, because the number of keyframes is less 61% than that of reference's. Also, the proposed method detects if the video is copied or not efficiently despite expansive spatial transformations such as blurring, contrast change, zoom in, zoom out, aspect ratio change, and caption insertion.

• Journal of Broadcast Engineering
• /
• v.16 no.5
• /
• pp.834-845
• /
• 2011

Massive broadcasting contents such as UHD(Ultra High Definition) TV which requires multi-channel capacity for transmission has been introduced in recent years. A transmission scheme with channel bonding has been considered for transmission of massive broadcasting contents. In HFC(Hybrid Fiber Coaxial) networks, DOCSIS 3.0(Data Over Cable Service Interface Specification 3.0) has already applied channel bonding schemes for up/downstream of data service. A method unlike DOCSIS 3.0 is required to introduce a channel bonding scheme in the broadcasting service having unidirectional transmission with a downstream. Since a massive broadcasting content requires several channels for transmission, VBR(Variable Bit Rate) transmission has been emerging for the bandwidth efficiency. In addition, research on channel allocation and resource scheduling is required to guarantee QoS(Quality of Service) for the broadcasting service based on VBR. In this paper, we propose a transmission method for mass broadcasting service in HFC network and show the UHD transmission simulator developed to evaluate the performance. In order to evaluate the performance, we define various scenarios. Using the simulator, we assess the possibility of channel bonding and VBR transmission for UHD broadcasting system to provide mass broadcasting service efficiently. The developed simulator is expected to contribute to the efficient transmission system development of mass broadcasting service.

• Journal of Broadcast Engineering
• /
• v.16 no.1
• /
• pp.33-43
• /
• 2011

Recently, 3D displays are supplied in the 3D markets so that the demand for 3D stereoscopic contents increases. In general, a simple method is to use a stereoscopic camera. As well, the production of 3D from 2D materials is regarded as an important technology. Such conversion works have gained much interest in the field of 3D converting. However, the stereoscopic image generation from a single 2D image is limited to simple 2D to 3D conversion so that the better realistic perception is difficult to deliver to the users. This paper presents a new stereoscopic content production method where foreground objects undergo alive action events. Further stereoscopic animation is viewed on 3D displays. Given a 2D image, the production is composed of background image generation, foreground object extraction, object/background depth maps and stereoscopic image generation The alive objects are made using the geometric transformation (e.g., translation, rotation, scaling, etc). The proposed method is performed on a Korean traditional painting, Danopungjung as well as Pixar's Up. The animated video showed that through the utilization of simple object transformations, more realistic perception can be delivered to the viewers.

• Journal of Broadcast Engineering
• /
• v.25 no.4
• /
• pp.497-506
• /
• 2020

A chameleonic surface proposed in this study was a pin-art and 3D display device for generating arbitrary shapes. A smooth and continuous surface was formed using slim telescopic actuators and high-elasticity composite material. Realistic 3D shapes were continuously generated by projecting dynamic mapping images on the surface. A slim telescopic actuator was designed to show long strokes and minimize area for staking. A 3D shape was formed by thrusting and extruding the high-elasticity material using multiple telescopic actuators. This structure was advantageous for generating arbitrary continuous surface, projecting dynamic images and lightening weight. Because of real-time synchronization, a distributed controller based on EtherCAT was applied to operate hundreds of telescopic actuators smoothly. Integrated operating software consecutively generated realistic scenes by coordinating extruded shapes and projecting 3D image from multiple projectors. An opera content was optimized for the chameleon surface and showed to an audience in an actual concert.

• Journal of Broadcast Engineering
• /
• v.25 no.4
• /
• pp.518-527
• /
• 2020

360 VR technology is used not only in movies, but also in performing arts such as music, theater, dance, and so on due to the characteristics of immersion and presence. The technology allows the audience can be perceived a feel of participation in a story. This study is conducted an analysis of the techniques of 360 video shooting in order to find the answers of the following questionaries: how to make viewers enhance to a better understanding of a space, how to make the viewer feel comfortable ceding control of the experience, how to generate greater empathy with a 360 video. Thirty cases were analysed 360-degree videos of live performances performed on stage among 360-degree images of music performance content shared on Youtube from 2015 to 2020. The result shows that live performances are performed with the audience, so the stage shape and the layout of the audience seats are preferred to the characteristics of the performance. It was also shown that directing using a 360 VR camera was also greatly affected by the stage and audience placement. The stage is manly classified into three types, and the camera layout and characteristics mainly used are organized according to the number of 360 VR cameras, whether fixed or mobile cameras are used.

• Journal of Broadcast Engineering
• /
• v.16 no.3
• /
• pp.439-447
• /
• 2011

In this paper, we present a novel method to use metadata based on the eXtensible Markup Language (XML) for efficient data transfer between visual effects (VFX) and film editing. For transferring data to the VFX process, image sequences such as Cineon DPX or TGA are currently used in Korean post productions. The use of image sequences tends to increase rendering time and the amount of data for repetitive file format conversions, and as a result causes inefficiency in the entire production process. On the other hand, the use of metadata on the XML can reduce time and data because the repetitive rendering processes are not needed. This method can also be used at a variety of editing and VFX programs, and provides content information for combining online contents. The development of XML-base methods on the web enables flexible combination with other types of media.

• Journal of Broadcast Engineering
• /
• v.13 no.4
• /
• pp.544-553
• /
• 2008

With the development of video editing technology, there are growing uses of overlay text inserted into video contents to provide viewers with better visual understanding. Since the content of the scene or the editor's intention can be well represented by using inserted text, it is useful for video information retrieval and indexing. Most of the previous approaches are based on low-level features, such as edge, color, and texture information. However, existing methods experience difficulties in handling texts with various contrasts or inserted in a complex background. In this paper, we propose a novel framework to localize the overlay text in a video scene. Based on our observation that there exist transient colors between inserted text and its adjacent background a transition map is generated. Then candidate regions are extracted by using the transition map and overlay text is finally determined based on the density of state in each candidate. The proposed method is robust to color, size, position, style, and contrast of overlay text. It is also language free. Text region update between frames is also exploited to reduce the processing time. Experiments are performed on diverse videos to confirm the efficiency of the proposed method.

• Journal of Broadcast Engineering
• /
• v.18 no.2
• /
• pp.225-236
• /
• 2013

3D contents could cause unique 3D visual fatigue. Screen disparity, image blurring, and crosstalk are known to be the three major factors responsible for the fatigue. Among these, screen disparity and image blurring are content factors, that is, one can directly manipulate contents themselves to handle visual fatigue caused by these two factors. On the other hand, because crosstalk is closely tied to physical characteristics of 3D display, it is difficult or even impossible to reduce crosstalk-driven visual fatigue unless one replaces 3D display itself (for example, from active to passive display). However, the effects of crosstalk on 3D visual fatigue depends on visual stimulus features (that is, contents), and thus it is possible to manipulate stimulus features in order to handle visual fatigue caused by crosstalk. Hence, this research tested the effects of visual stimulus features on crosstalk (which then causes 3D visual fatigue). Using relative depth discrimination task, we tested the effects of stimulus-background contrast, background texture density, and screen disparity on the degree of perceived crosstalk. The results showed that crosstalk decreases with presence of background texture and with less degree of screen disparity.