• Journal of Multimedia Information System
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• v.8 no.3
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• pp.167-174
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• 2021

This paper compares VR cinema with interactive cinema from an interactive perspective to examine cinemas as a new medium. Rather than revealing the difference through this, the focus is on presenting a methodology that understands the cinema in a new environment that is now standing at the starting point. The development of video technology is changing not only the external elements of content but also the internal storytelling method, but the lack of killer content has always been pointed out as a problem compared to the remarkable development of technology. Therefore, it is necessary to specify the characteristics and types of interactions represented by VR (virtual reality) and new media represented by interactive media and to present directions. Therefore, the types and characteristics of interactions were compared with VR film produced in line with the new phenomenon and interactive film . Through this, we would like to present the meaning and value of the new film format from a media perspective.

• The Transactions of the Korea Information Processing Society
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• v.6 no.2
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• pp.367-376
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• 1999

A variable bit-rate based video services have much limitation for bandwidth management, since its trarfic has a some variances in frame level. In particular, the bandwidth management for video which has characteristics of VBR traffic such a MPEG video could be more complicated. Also, it is difficult to manage the bandwidth effectively for proving a VCR function from VOD service, since we don't know the traffic variance exactly at that time. In this paper, we proposed the dynamic bandwidth allocation a scheme based on VBR traffic based stored video such as MPEG for interactive video service. This scheme can maximize the given total bandwidth through the prefetch based variable length bandwidth allocation scheme and dynamic bandwidth management scheme for multiple streams. Also, our scheme can be used for a MPEG-based bandwidth allocation scheme, and provides the method that can maximize the utilization of network resource for multiple stream by using a dynamic bandwidth management.

• Journal of Advanced Navigation Technology
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• v.17 no.6
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• pp.757-764
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• 2013

A panoramic video which supports to make viewers feel an immersion through fitting to a wide field of view (FOV) larger than the human visual angle needs an interactive viewing method such as selecting targeted view point among widely viewing points of a panoramic video because it difficult to simultaneously view a whole panoramic video due to a limited viewing environment and bandwidth. When a user officially uses a view navigation in order to select a view point, it happens waste of resources such as bandwidth owing to the transmitted video data of unnecessary view points. Therefore, this paper proposes the spatial-temporal prediction filter (STPF) which is based on the direction and velocity of the view navigation for transmitting only the necessary video data. As a result of simulation, STPF reduces bitrate saving rates by from 6% to 37% compared to conventional methods in the interactive panoramic video streaming service required high bandwidth.

• Journal of Digital Convergence
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• v.12 no.11
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• pp.531-539
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• 2014

Recent studies of multiple participatory interactive media designs hows that the key element to this area is the participation of the audience. Due to this matter, this paper discusses the categories of the phase and looks into the characteristics of participatory matters to clarify the distinction. The categories that has been mentioned in this paper are multiple participatory types and active participatory types. Based on this matter, research practicing the Mira has been conducted in two separate groups - video and sound, and suggests the solution to the problems that has occurred during the process of implementing the final video system called 'The 360 Project'. The fact that the paper suggests a small range of participatory categories and hasn't come up with a certain analysis to the final outcome appears as a limit. The inadequacy will be supplemented throughout the following paper, hoping there will be improved versions of multiple participatory researches.

• The Journal of the Korea Contents Association
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• v.20 no.12
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• pp.250-265
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• 2020

In the N-Screen environment, HTML5 standard-based content development is inevitable. However, it is still passive the development of HTML5 manipulation type contents due to high development cost and insufficient infrastructure. Therefor we propose an efficient contents development model by convergence multimedia contents (such as video and audio) with HTML5 documents that can implement dynamic manipulation for user interaction. The proposed model is designed to divide the multimedia and iframe areas in the HTML5 layout page included the player for integrated contents control. Interactive HTML5 documents are divided into screen units and provided through iframe. The integrated control player composed based on the HTML5

• Journal of Broadcast Engineering
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• v.13 no.6
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• pp.930-940
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• 2008

This paper proposes a prototype realization of multi-view HD video transport system with synchronized multiplexing over IP networks. The proposed synchronized multiplexing considers the synchronization during video acquisition and the multiplexing for the interactive view-selection during transport. For the synchronized acquisition from multiple HDV camcorders through IEEE 1394 interface, we estimate the timeline differences among MPEG-2 compressed video streams by using global time of network between the cameras and a server and correct timelines of video streams by changing the time stamp of the MPEG-2 system stream. Also, we multiplex a selected number of acquired HD views at the MPEG-2 TS (transport stream) level for the interactive view-selection during transport. Thus, with the proposed synchronized multiplexing scheme, we can display synchronized HD view.

• International Journal of Internet, Broadcasting and Communication
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• v.14 no.3
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• pp.115-130
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• 2022

Barrage is an interactive method based on video, and the video itself is visualized from the viewer's point of view to play people's emotions, and it already has an advantage in communication by attracting people's attention using stories and plays. Advances in digital and mobile technology have enabled video viewing anytime, anywhere. Due to the nature of the barrage site that relies on the same video content or playback to participate in video sharing through computers or mobile clients, a barrage that can express users' feelings and thoughts will be added, breaking down the limit of content acceptance by a single user. Barrage satisfy users' entertainment needs, and their influence is growing. Gradually, they are heading to offline movie theaters and TV from barrage videos on the Internet. Attempts to function as offline ammunition facilitated technological innovation for media convergence by converging mobile media with PCs and screens. At the same time, the trend of media convergence shown by coal screens is also a trend of overall technological development. A barrage is an extension of human communication skills. The properties of the barrage fit well with the need for experiential marketing (via video). It can provide a visual experience and create an atmosphere of "surrounding and watching" and eliminate loneliness. Barrage itself provides a function to comment on videos, which is a trigger point for the reason, and donation adds to the amount of information in the video, adding to the fun of the video. Through the barrage, sarcastic, teasing, and expressing emotions can bring entertainment experiences, and users can produce and communicate their shooting text while consuming the satisfaction brought by the shooting. At the same time, Barrage attaches great importance to the needs of the masses, is more individual and diversified, and has commercial significance in line with the current development trend of the Internet. As a new interactive method, barrage contains huge potential value. However, the impact of the interactive way of barrage should also be viewed from a dialectical point of view, how to solve the difficulties in the development of barrage. The way to solve the difficulties in the development of barrage is worth studying. This research will analyze the reasons for the development of barrage and the analysis of Chinese barrage websites, the case analysis of barrage videos, the exploration of the characteristics and values of barrage, and the problems in the process of barrage communication. Provide reference for the development of industrial culture.

• Journal of KIISE:Computing Practices and Letters
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• v.10 no.6
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• pp.514-528
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• 2004

An emotion-based video scene retrieval algorithm is proposed in this paper. First, abrupt/gradual shot boundaries are detected in the video clip representing a specific story Then, five video features such as 'average color histogram' 'average brightness', 'average edge histogram', 'average shot duration', and 'gradual change rate' are extracted from each of the videos and mapping between these features and the emotional space that user has in mind is achieved by an interactive genetic algorithm. Once the proposed algorithm has selected videos that contain the corresponding emotion from initial population of videos, feature vectors from the selected videos are regarded as chromosomes and a genetic crossover is applied over them. Next, new chromosomes after crossover and feature vectors in the database videos are compared based on the similarity function to obtain the most similar videos as solutions of the next generation. By iterating above procedures, new population of videos that user has in mind are retrieved. In order to show the validity of the proposed method, six example categories such as 'action', 'excitement', 'suspense', 'quietness', 'relaxation', 'happiness' are used as emotions for experiments. Over 300 commercial videos, retrieval results show 70% effectiveness in average.

• Journal of Korea Game Society
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• v.5 no.2
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• pp.3-9
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• 2005

Interactive real-time 3D enables users to explore virtual three dimensional environments and also experience contents in an absorbing fashion. Unlike other media, Interactive real-time 3D users take an active role in the process of "real-time fashion" where action and reaction occur instantly in a digital 3D structure. Once the components and origins of interactive real-time 3D is made, it is possible making principles of the beauty that help decide success or failure of real-time 3D in two way system. Substantial real-time 3D has not yet passed 10 years so it was unable to make sufficient precedents of fundamental artistic value based upon the credibility of the media. The goal is to explain the new form of design in relation to general principles of arts at the same time to understand the technical definition better. Concepts of historical documentation are explained with an example of categorization of recent video game and recent technology. This thesis concludes with rough forecast on the future interactive real time 3D. Since the medium began relatively recently and is developing in the rapid pace, recent analyses, though clear forecast is difficult, tend to investigate potential directions to some level the field allows.

• International Journal of Contents
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• v.7 no.3
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• pp.29-37
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• 2011

This research discusses the unique characteristics of Japanese video game from the cultural viewpoint of Japan's traditional play. It starts with the possibility that Japanese video game can share the characteristics of traditional Japanese play. Accordingly, this research first considers the connection between play and video game for a theoretical background, by comparing their theoretical definitions and characteristics. Particularly, it shows the research direction from the viewpoint of Ludology that approaches video game from the aspect of play. Second, the characteristics of traditional Japanese play are examined in connection with Japan's inherent animism culture. Based on such characteristics, the common characteristics and backgrounds of Japanese video game and traditional Japanese play are discussed from the 'spatial' aspect of game, from the 'identity' aspect of game characters, and from the 'motive' behind playing game.