• Journal of Broadcast Engineering
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• v.14 no.1
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• pp.93-98
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• 2009

While the Motion JPEG2000 has been considered as a unique encoder for digital cinema due to its high quality coding and large screen format, the realization of a digital cinema system and its service cost enormous fund and time. In this paper a digital cinema transmission system with PC and RTP protocol over the Internet is proposed, and showed how tiles of moving images are transmitted, decoded independently and combined to reconstruct and display at a large screen for digital cinema service. The simulation has been carried out for tiles of 128${\times}$128, 256${\times}$256, 512${\times}$512, and 1024${\times}$1024 pixels. In the experiment, two clients of PC’s received and decoded tiles of video and constructed whole size of moving images successfully. The PSNR’s of the video ranges 30dB to 40dB at compression rate of 160:1 and 30dB to 50dB at and below 16:1, respectively. The result showed a possibility for the reconstruction of video in multi-vision.

• Journal of Broadcast Engineering
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• v.9 no.2
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• pp.119-130
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• 2004

We have developed a prototype super-high-definition (SHD) digital cinema distribution system that can store, transmit, and display eight-million-pixel motion pictures that have the image quality of a 35-mm film movie. The system contains a movie server, a real-time decoder, and an SHB projector. Using a Gigabit Ethernet link and TCP/IP, the server transmits JPEG2000 compressed motion picture data streams to the decoder at transmission speeds as high as 300 Mbps. The received data streams are decompressed by the decoder, and then projected onto a screen via the projector. By using an enlarged TCP window, multiple TCP streams, and a shaping function to control the data transmission quantity, we achieved real-time streaming of SHD movie data at about 300 Mbps between Chicago and Los Angeles, a distance of more than 3000 km. We also improved the decoder performance to show movies with Image qualities of 450 Mbps or higher. Since UDP is more suitable than TCP for fast long-distance streaming, we have developed an SHD digital cinema UDP relay system, in which UDP is used for transmission over a fast long-distance network. By using four pairs of server-side-proxy and decoder-side-proxy, 450-Mbps movie data streams could be transmitted.

• Journal of Broadcast Engineering
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• v.13 no.1
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• pp.99-108
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• 2008

This raper analyzes the effect of visually lossless image compression for efficient distribution of digital cinema. Currently, distribution of digital cinema is carried out based on JPEG 2000 standard that has been selected by DCI. We first summarize characteristics of JPEG 2000, and then define the concept of visually lossless coding that plays an important role in digital cinema distribution. We provide a test for JPEG 2000 compression performance according to DCI specification for visually lossless. Based on the experiment, the result satisfies high quality for cinema distribution.

• Journal of Korea Multimedia Society
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• v.15 no.6
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• pp.731-736
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• 2012

Latest digital cinema is getting more interest on recent days. The combination of visually immersive 3D movie with chair movements and other physical effects has added more enjoyment. The movement of the chair is controlled manually in these digital cinemas. By the analysis of the digital cinema's video sequences, movement of the chair can be controlled automatically. In the proposed method first of all the motion of focused object and the background is identified and then the motion vector information is extracted by using the 9-search range. The motion vector is determined only for the movement of background while the object is stationary. The extracted Motion information from the digital cinemas is used for the movement control of the chair. The experimental results show that the proposed method outperforms the existing methods in terms of accuracy.

• International Journal of Internet, Broadcasting and Communication
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• v.7 no.1
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• pp.10-14
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• 2015

Video Content owners seek to squeeze the maximum amount of revenue from their assets via distribution into more territories. Digital Cinema Package(DCP), trusted solution to distribute protected content to theaters, caters to relatively small user base, which limits revenue. With the growth of the Internet & other digital media, the economics of media content has changed dramatically. Security remains main concern to deliver content to millions of consumers using intelligent digital display devices like Tablets, Smartphones, Smart TVs, Desktop & Laptop. By making the video content available to this segment securely, content owners will benefit from increased revenue. Through this paper we propose Open Source HomeDCP model to distribute the content to home users for offline viewing. We propose to include other open source CODEC than JPEG2000/MPEG2, which are specifically designed for theatrical performance. Final image size will be further reduced considering the display device resolution where video will be finally played. Key Delivery Message(KDM) system to be altered to suit new devices. This will be a big boost to Content Economy as content owners would be able to distribute the content securely to the wider audience & ensure more revenue.

• Journal of Broadcast Engineering
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• v.15 no.3
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• pp.391-406
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• 2010

Digital cinema based on digital master distribution increases with stereoscopic film as the center. DCI specification V1.0 announced at 2004, it considerates stereoscopic film screening. And now, the Society of Motion Picture and Television Engineers is establishing a task force to define the standards of a stereoscopic contents viewed in the home. Today, most Hollywood commercial stereoscopic film features animation using computer graphic. However, considering film making characteristic, stereoscopic digital cinema is required shooting in real world and editing, screening. This paper presents possibility of stereoscopic examination at NLE in the stereoscopic workflow. And we will propose new stereoscopic digital cinema workflow to apply the stereoscopic examination. Based on experimental results, the 3D ready television using 120Hz has some obstacles for contents editing, but most domestic stereoscopic monitor using circular polarization is possible for successful editing.

• Proceedings of the Korean Institute of Communication Sciences Conference
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• 2004.11a
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• pp.201-201
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• 2004

• The Journal of Korean Institute of Communications and Information Sciences
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• v.32 no.3C
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• pp.297-305
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• 2007

In the paper, a Motion JPEG2000 coder which has been set as the standard for image compression by the Digital Cinema Initiatives (DCI), an organization composed of major movie studios was implemented into a target FPGA. The DWT (Discrete Wavelet Transform) based on lifting and the Tier 1 of EBCOT (Embedded Block Coding with Optimized Truncation) which are major functional modules of the JPEG2000 were setup with dedicated hardware. The Tier 2 process was implemented in software. For digital cinema the tile-size was set to support $1024\times1024$ pixels. To ensure the real-time operations, three entropy encoders were used. When Verilog-HDL was used for hardware, resources of 32,470 LEs in Altera's Stratix EP1S80 were used, and the hardware worked stably at the frequency of 150Mhz.

• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.45-53
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• 2021

Digital morph expresses the imaginary beyond the representation of reality by expressing the narrative effect characteristically. In particular, the effect of affect can be considered to be a characteristic of digital cinema as a post-cinema. In (2013), Morphing image prominently shows the characteristics of post-cinema. By actively utilizing software technology, this film gives a shocking effect by expressing the magical image. Paying attention to the post-cinematic characteristics of morphing different from classical film, this article treated the characteristics of digital morphing. The digital morphing presents the flow of affect visualizing uncanny phenomenon of body transformation. This evokes concept of neuro-image which Patricia Pisters distinguished the neuropsychiatric pathology that appears actively on the contemporary digital screen. The Neuro-image goes beyond the temporality of Deleuze's time-image presenting future. Allegedly, the morphing of presents the neuro-images when Nina's body changed to hybrid body with black swan. Digital Morphing technique provides a shocking effect, showing delirium when the body bizarrely deformed while dancing ballet. This is different from the attraction of the morphing in film, it expresses the emotion of the neoliberal era beyond representation. In conclusion, the digital morphing presents the neuro-image system modulating the shock. This shows the characteristics of digital film which interacting and controling the shock effect as post-cinema.

• International Journal of Advanced Culture Technology
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• v.7 no.2
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• pp.113-124
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• 2019

Stanley Kubrick's 1968 film titled 2001: A Space Odyssey has generally been considered as a monumental piece of mainstream epic science-fiction. However, this film can be evaluated as having properties of experimental cinema by boldly trying technical innovation and aesthetic experiment in various aspects. From the filmmaker's process to filmic structure, technical innovations, screening method, $mise-en-sc\grave{e}ne$, cinematic style and its (auto-)reflexivity, 2001: A Space Odyssey is highly experimental. We will attempt to separate out aspects of 2001: A Space Odyssey that derive explicitly from traditions in experimental cinema, whether adopting those traditions or innovating within them, by identifying the film's experimental strategies and relating them to other experimental films that came before and after. This will show that the purely formal characteristics of the film's conception carry meanings on their own relating to Kubrick's personal expression, ideas about cinema and philosophy that go beyond the scope of the film's narrative.