• Title/Summary/Keyword: digital music contents

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UX Design for Digital TV Platform (디지털 TV 플랫폼의 UX 디자인)

  • Yim, Jin-Ho;Lee, Sang-Hee
    • Journal of the Ergonomics Society of Korea
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    • v.29 no.4
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    • pp.563-568
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    • 2010
  • TV businesses that have brought a competitive structure in terms of price, definition, product design for a long time now are bringing User eXperience (UX) into relief as DTVs come to support broadcast information-related services such as various broadcast channels and Electronic Program Guide(EPG), etc., and playing of multimedia contents like music/videos, etc. This study worked on an evaluation by developing a UI to control easily the various and complex broadcast contents or multimedia contents provided by DTVs. The UI Design for new DTVs was developed based on Function, Flow and Form in the concept of Single ABC (Access, Browser and Control), and the usability test of the developed UI concept along with the UIs of the major DTV products, was done for Channel Managers and the multimedia browsers for 32 users of DTVs in the U.K./U.S., respectively. As a result of the usability test, the new concept of Channel Manager was evaluated high both in the U.K./U.S, while the multimedia browser was evaluated low in the U.S., relatively.

MPEG Audio New Standard: USAC Technology (MPEG 오디오 최신 표준: USAC 기술)

  • Lee, Tae-Jin;Kang, Kyeong-Ok;Kim, Whan-Woo
    • Journal of Broadcast Engineering
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    • v.16 no.5
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    • pp.693-704
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    • 2011
  • As mobile devices become multi-functional, and converge into a single platform, there is a strong need for a codec that is able to provide consistent quality for speech and music contents. MPEG-D USAC standardization activities started at the 82nd MPEG meeting with a CfP and approved Study on DIS at the 96th MPEG meeting. MPEG-D USAC is converged technology of AMR-WB+ and HE-AAC V2. Specifically, USAC utilizes three core codecs (AAC, ACELP, and TCX) for low frequency regions, SBR for high frequency regions, the MPEG Surround for stereo information, and window transition technology for smoothing transition between various core coder. USAC can provide consistent sound quality for both speech and music contents and can be applied to various applications such as multi-media download to mobile devices, digital radio, mobile TV and audio books.

Auto Frame Extraction Method for Video Cartooning System (동영상 카투닝 시스템을 위한 자동 프레임 추출 기법)

  • Kim, Dae-Jin;Koo, Ddeo-Ol-Ra
    • The Journal of the Korea Contents Association
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    • v.11 no.12
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    • pp.28-39
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    • 2011
  • While the broadband multimedia technologies have been developing, the commercial market of digital contents has also been widely spreading. Most of all, digital cartoon market like internet cartoon has been rapidly large so video cartooning continuously has been researched because of lack and variety of cartoon. Until now, video cartooning system has been focused in non-photorealistic rendering and word balloon. But the meaningful frame extraction must take priority for cartooning system when applying in service. In this paper, we propose new automatic frame extraction method for video cartooning system. At frist, we separate video and audio from movie and extract features parameter like MFCC and ZCR from audio data. Audio signal is classified to speech, music and speech+music comparing with already trained audio data using GMM distributor. So we can set speech area. In the video case, we extract frame using general scene change detection method like histogram method and extract meaningful frames in the cartoon using face detection among the already extracted frames. After that, first of all existent face within speech area image transition frame extract automatically. Suitable frame about movie cartooning automatically extract that extraction image transition frame at continuable period of time domain.

A study about the problems and their solutions in the production process of 3D character animation using optical motion capture technology (옵티컬 모션캡쳐 기술을 활용한 3D 캐릭터 애니메이션에서 제작과정상 문제점 및 해결방안에 관한 연구)

  • Lee, Man-Woo;Kim, Hyun-Jong;Kim, Soon-Gohn
    • Proceedings of the Korea Contents Association Conference
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    • 2006.11a
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    • pp.831-835
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    • 2006
  • Motion capture means the recording of movement of objects such as human beings, animals, creatures, machines, etc in a form applicable to computer. Since the motion capture system can be introduced to the fields where realistic movement of human beings and animals, which cannot be attained with an existing key frame method is required, large scale is necessary or economical burden exists, it has a merit and possibility of new expression. For these reasons, this method is increasingly used in the field of digital entertainment such as movie, TV, advertisement, documentary, music video, etc centering around the game. However, in spite of such an advantage, problems such as too much advance preparation work in digital image expressions using motion capture, marker attachment, compensation of motion data, motion retargeting and lack of professional human resources, etc. are becoming a prominent figure. Accordingly, this study intends to suggest the way of more effective production of motion capture digital image through finding the problems and their draft possible solutions in the production process based on the image production examples using motion capture.

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Motion Capture System for Digital Entertainment (디지털 엔터테인먼트에서의 모션 획득 시스템)

  • Lee, Man-Woo;Kim, Soon-Gohn
    • The Journal of the Korea Contents Association
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    • v.7 no.5
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    • pp.85-93
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    • 2007
  • The motion capture system has shown its great potential as a new image expression means for handling such challenging tasks as realistic animation of humans or animals in motion, which cannot be handled by the existing key frame method satisfactorily, and also projects involving a large scale or a burdensome economic expenses. Its applications also has been intensified and widened in the entertainment arena including motion pictures, TV, advertisements, documentaries, music videos, etc. centering around games. Despite of these merits, though, a number of issues have been surfaced in the digital image expression utilizing the motion capture system, such as a burdensome amount of preparatory work, the needs for attachment of markers and for remedial corrections of motion data, and the lack of trained manpower. We would like to present in this paper a new direction for making the digital image production more efficient, based on the extensive analysis of prior image production projects that used the motion capture system.

A Content-based Audio Retrieval System Supporting Efficient Expansion of Audio Database (음원 데이터베이스의 효율적 확장을 지원하는 내용 기반 음원 검색 시스템)

  • Park, Ji Hun;Kang, Hyunchul
    • Journal of Digital Contents Society
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    • v.18 no.5
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    • pp.811-820
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    • 2017
  • For content-based audio retrieval which is one of main functions in audio service, the techniques for extracting fingerprints from the audio source, storing and indexing them in a database are widely used. However, if the fingerprints of new audio sources are continually inserted into the database, there is a problem that space efficiency as well as audio retrieval performance are gradually deteriorated. Therefore, there is a need for techniques to support efficient expansion of audio database without periodic reorganization of the database that would increase the system operation cost. In this paper, we design a content-based audio retrieval system that solves this problem by using MapReduce and NoSQL database in a cluster computing environment based on the Shazam's fingerprinting algorithm, and evaluate its performance through a detailed set of experiments using real world audio data.

Watermarking Algorithm for Copyright Protection of Haegeum Sound Contents (해금 사운드 콘텐츠의 저작권 보호를 위한 워터마킹 알고리듬)

  • Hong, Yeon-Woo;Kang, Myeong-Su;Cho, Sang-Jin;Chong, Ui-Pil
    • Journal of the Institute of Convergence Signal Processing
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    • v.10 no.4
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    • pp.214-219
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    • 2009
  • This paper proposes a watermarking algorithm considering the frequency characteristics of Haegeum sounds for copyright protection of digital Haegeum sound contents. The harmonics of Haegeum sounds commonly have large magnitude values in 1500Hz~2000Hz and 2800Hz~3500Hz so that those bands are selected to embed a watermark. The proposed method computes the FFT (fast Fourier transform) of the original sound signal and embeds the watermark bits generated by PN (pseudo noise) sequence into the harmonics in the selected bands. Furthermore, the proposed method is robust to lowpass filter, bandpass filter, cropping, noise addition, MP3 compression attacks and the maximum BER (bit error rate) is 1.41% after lowpass filter attack. To measure the quality of the watermarked sound, subjective listening test, MUSHRA (multiple stimuli with hidden reference and anchor), was conducted. The mean value of MUSHRA listening test is bigger than 98 and 96.67 for every Haegeum sounds and Korean classical music with Haeguem, respectively.

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The Mediating Effect of Experiential Value on Customers' Perceived Value of Digital Content: China's Anti-virus Program Market (경험개치대소비자대전자내용적인지개치적중개영향(经验价值对消费者对电子内容的认知价值的中介影响): 중국살독연건시장(中国杀毒软件市场))

  • Jia, Weiwei;Kim, Sae-Bum
    • Journal of Global Scholars of Marketing Science
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    • v.20 no.2
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    • pp.219-230
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    • 2010
  • Digital content makes big changes to our daily lives while bringing opportunities and challenges for companies. Creative firms integrate pictures, texts, videos, audios, and data by digitalization to develop new products or services and create digital experiences to promote their brands. Most articles on digital content contribute to the basic concept or development of marketing it in literature. Actually, compared with traditional value chains for common products or services, the digital content industry seems to have more potential value. Because quite a bit of digital content is free to the consumer, price is not necessarily perceived as an indicator of the quality or value of information (Rowley 2008). It becomes evident that a current theme in digital content is the issue of "value," and research on customers' perceived value of digital content is a necessity. This article argues that experiential value has an advantage in customers' evaluations of digital content. Two different but related contributions to the understanding of "value" of digital content are made here. First, based on the comparison of digital content with products and services, the article proposes two key characteristics that make experiential strategy available for digital content: intangibility and near-zero reproduction cost. On top of that, based on the discussion of the gap between company's idealized value and customer's perceived value, this article emphasizes that digital content prices and pricing of digital content is different from products and services. As a result of intangibility, prices may not reflect customer value. Moreover, the cost of digital content in the development stage may be very high while reproduction costs shrink dramatically. Moreover, because of the value gap mentioned before, the pricing polices vary for different digital contents. For example, flat price policy is generally used for movies and music (Magiera 2001; Netherby 2002), while for continuous demand, digital content such as online games and anti-virus programs involves a more complicated matter of utility and competitive price levels. Digital content companies have to explore various kinds of strategies to overcome this gap. Rethinking marketing solutions such as advertisements, images, and word-of-mouth and their effect on customers' perceived value becomes essential. China's digital content industry is becoming more and more globalized and drawing special attention from different countries and regions that have respective competitive advantages. The 2008-2009 Annual Report on the Development of China's Digital Content Industry (CCIDConsulting 2009) indicates that, with the driven power of domestic demand and governmental policy support, the country's digital content industry maintained a fast growth of some 30 percent in 2008, obviously indicating the initial stage of industry expansion. In China, anti-virus programs and other software programs which need to be updated use a quarter-based pricing policy. Customers can download a trial version for free and use it for six months or a year. If they want to use it longer, continuous payment is needed. They examine the excellence of the digital content during this trial period and decide whether to pay for continued usage. For China’s music and movie industries, as a result of initial development, experiential strategy has not been much applied, even though firms in other countries find the trial experience and explore important strategies(such as customers listening to music for several seconds for free before downloading it). For the above reasons, anti-virus program may be a representative for digital content industry in China and an exploratory study of the advantage of experiential value in customer's perceived value of digital content is done in the anti-virus market of China. In order to enhance the reliability of the survey data, this study focused on people who were experienced users of anti-virus programs. The empirical results revealed that experiential value has a positive effect on customers' perceived value of digital content. In other words, because digital content is intangible and the reproduction costs are nearly zero, customers' evaluations are based heavily on their experience. Moreover, image and word-of-mouth do not have a positive effect on perceived value, only on experiential value. That is to say, a digital content value chain is different from that of a general product or service. Experiential value has a notable advantage and mediates the effect of image and word-of-mouth on perceived value. The results of this study help provide an understanding of why free digital content downloads exist in developing countries. Customers can perceive the value of digital content only by using and experiencing it. This is also why such governments support the development of digital content. Other developing countries whose digital content business is also in the beginning stage can make use of the suggestions here. Moreover, based on the advantage of experiential strategy, companies should make more of an effort to invest in customers' experience. As a result of the characteristics and value gap of digital content, customers perceive more value in the intangible digital content only by experiencing what they really want. Moreover, because of the near-zero reproduction costs, companies can perhaps use experiential strategy to enhance customer understanding of digital content.

Analysis of Roles of Lighting and Background Musik for Storytelling - a Case Study of Disney's Short Animated Film (스토리텔링에서의 조명과 배경음악의 역할 분석 -디즈니 단편 애니메이션 <페이퍼맨>을 중심으로)

  • Park, Eun-Hea
    • Journal of Korea Multimedia Society
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    • v.18 no.8
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    • pp.988-995
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    • 2015
  • In 2013, Academy Award for Best Animated Short Film was granted to Walt Disney's short animation, (2012). With various aspects of its excellence, I focus on the very effective use of digital lightings and underscores for storytelling as its success factors. In this respect, this paper aims at analyzing the roles of the visual factors, especially tone, contrast, etc. created by lightings, and audio factors, especially underscores, in the film's story development. I find that can be characterized by the well-built story structure with distinct three acts. The main stream of the story is expressed with the overall mood that is created by the fine adjustments of brightness of the main light, and contrast. And the direction and the intensity of the lighting successfully describe the emotions of the characters in each scene. In addition, I find that properly chosen and positioned underscores make the development of the story more dynamic and more harmonized.

Pricing Strategy, Profit Sharing, and Market Structure in Digital Music Contents Industry (디지털 음악 콘텐츠 시장에서의 가격전략, 수익배분 및 시장구조)

  • Jang, Dae-Cheol;An, Byeong-Hun
    • Proceedings of the Korean Operations and Management Science Society Conference
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    • 2008.10a
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    • pp.197-217
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    • 2008
  • 본 논문에서는 현재 국내의 디지털 음악 콘텐츠 산업에서 이슈가 되고 있는 정액제와 수익배분 비율 문제를 중심으로 수리적 모형을 사용하여 분석하였다. 특히 국내의 현황을 반영하여 음원권리자와 이동통신사의 문제에 더욱 초점을 맞추었다. 본 논문의 연구결과는 다음과 같다. 첫째, 이동통신사와 음원권리자 사이에서는 정액제를 선택하든 종량제를 선택하든 중요하지 않을 수 있다는 것이다. 중요한 것은 음원권리자가 수익배분비율을 그리고 이동통신사가 음원판매소매가격을 자율적으로 결정할 수 있어야 한다는 것이고 두 게임참여자가 서로 이익을 얻을 수 있는 수익배분방법과 비율이 존재한다는 점이다. 둘째, 정액제는 오히려 소비자와 이동통신사간의 관계에 영향을 미치게 되는데 이동통신사에게는 유리하고 소비자에게는 불리하게 된다는 것이다. 특히, 이동통신사와 음원권리자가 수직적으로 통합되어 경쟁하는 시장구조하에서는 소비자에게 불리한 경향이 더욱 심화되므로 정액제 보다는 종량제 가격의 하락을 통해서 온라인 음악 시장의 성장을 유도하는 것이 소비자에게 유리하게 된다. 이와 같은 온라인 음악시장의 성장은 중장기적으로 사업자들에게도 도움이 될 것이다.

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