• The Journal of the Korea Contents Association
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• v.18 no.7
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• pp.1-9
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• 2018

Present study investigated the crash phenomenon between freedom of press and pseudo press. For that researcher gathered online witch hunt cases from 2012 to 2017 and interpret with the logical basis of argument which needs to control pseudo press activity. On the other hand, present research arranged former studies about freedom of press and right of reputation and privacy as a counterpart that can be ethical debate. Futhermore, court case about right of small independent media where has less than 5 people also gathered. By Comparison of each ethical and legal basis, this study provide the insight which can inspire to think about real right of citizen and press.

• Journal of Digital Contents Society
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• v.18 no.7
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• pp.1333-1339
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• 2017

Parody is credited for one of the forms of artistic presentation, and the utilization has been increasing day by day. However, there is no clear regulation in legislation or case. Parody is usually made without authorization to exploit of original author, so there is a lot of controversy over its infringement of copyright. Constitutional Law guarantees the freedom of expression and that of art, but it protects the author's right as well. So it is important how settle the collision of fundamental rights. It is expected the development of a variety of discussion on parody from the views of the basic value the Constitution pursues and the improvement and development of the culture that is the purpose of Copyright Act.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• fall
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• pp.189-192
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• 2021

three degree of freedom (3DoF), three degree of freedom plus (3DoF+), six degree of freedom(6DoF) 등 몰입형 비디오의 높은 몰입감을 제공하기 위해 다중 비디오 영상을 효율적으로 처리하는 기법이 활발히 연구되고 있다. 이를 위해 원본의 몰입형 비디오가 입력되면 기본 시점 영상과 추가 시점 영상에서의 중복을 제거하고 기본 시점(basic view)에서는 보이지 않지만 추가 시점(additional view)에서는 보이는 영역을 추출하는 프루닝 과정이 이뤄지는 부호기에서의 부호화 모드 결정은 매우 중요하다. 본 논문은 test model for immersive video (TMIV)의 모드 중 하나인 MPEG immersive video (MIV) view mode 를 통해 만들어진 프루닝 (pruning) 그래프에서 선택된 시점들을 활용하여 뷰 간 중복성을 제거할 수 있는 효율적인 부호화 구조로 클러스터를 기반으로 병렬적으로 부호화하는 클러스터 기반 정렬 기법을 제안한다. 선택된 시점들을 인덱스 순서에 따라 부호화하는 기존 방법에 비해 제안하는 방법은 peak signal-to-noise ratio (Y-PSNR)에서 평균 3.9%의 BD-rate 절감을 보여주었다. 본 연구는 또한 더 객관적인 품질 측정을 위해 immersive video peak signal-to-noise ratio (IV-PSNR)에 의한 비교 결과도 함께 제공하며, 참조 순서에 맞게 정렬한 프루닝 기반 정렬 기법과의 비교도 함께 제공한다.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 2005.06a
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• pp.1125-1130
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• 2005

This paper presents a method for inter-sheet spacing control in a flexible media handling device. In order to verify the performance of inter-sheet spacing control by experiment, system of section structure is introduced in the first place. In the introduced system, each section is driven by different servo motor for independent section freedom. And suitable inter-sheet spacing control algorithm that is more optimal than conventional inter-sheet spacing control algorithm is proposed. Finally experiments are performed to confirm the performance of inter-sheet spacing control. And two inter-sheet spacing control algorithms, conventional and proposed, are compared with each other.

• Broadcasting and Media Magazine
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• v.23 no.1
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• pp.33-45
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• 2018

최근 차세대 미디어 중 하나로 가상의 환경 내에서 극대화된 현실감 및 몰입감을 사용자에게 제공해 줄 수 있는 몰입형 미디어(Immersive Media)가 각광받고 있다. 이를 반영하듯 360도 전방위 영상을 이용한 VR미디어에 사용자의 움직임에 따라 자연스러운 사실감 및 입체감을 제공하는 Light Field 미디어 기술을 접목하려는 시도가 가속화되고 있으며, MPEG에서도 6DoF(Degrees of Freedom)기반의 LF 미디어를 서비스하기 위한 MPEG-I(Immersive) 표준화가 진행 중에 있다. 본 고에서는 LF 미디어 특성 및 이를 획득하고 재생하기 위한 요소기술 개발 현황을 살펴보고, LF 기술이 적용된 MPEG 표준화 동향을 소개한다.

• Journal of Electrical Engineering and Technology
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• v.6 no.5
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• pp.706-712
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• 2011

Necessary and sufficient conditions for the existence of diagonal, block-diagonal, and triangular decoupling controllers in linear multivariable systems for the most general setting are presented. The plant model in this study is sufficiently general to accommodate non-square plant and non-unity feedback cases with one-degree-of-freedom (1DOF) or two-degree-of-freedom (2DOF) controller configuration. The existence condition is described in terms of rank conditions on the coefficient matrices in partial fraction expansions.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2018.11a
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• pp.22-24
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• 2018

MPEG-I Visual group is actively working on enhancing immersive experiences with up to six degree of freedom (6DoF). In virtual space of omnidirectional 6DoF, which is defined as a case of degree of freedom providing 6DoF in a restricted area, looking at the scene from another viewpoint (another position in space) requires rendering additional viewpoints called virtual omnidirectional viewpoints. This paper presents the performance analysis on view synthesis, which is done as the exploration experiment (EE) in MPEG-I, from a set of 360 videos providing omnidirectional 6DoF in various ways with different distances, directions, and number of input views. In addition, we compared the subjective quality between synthesized images with one input view and two input views.

• Electronics and Telecommunications Trends
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• v.34 no.6
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• pp.156-163
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• 2019

As a primitive immersive video technology, a three degrees of freedom (3DoF) $360^{\circ}$ video can currently render viewport images that are dependent on the rotational movements of the viewer. However, rendering a flat $360^{\circ}$ video, that is supporting head rotations only, may generate visual discomfort especially when objects close to the viewer are rendered. 3DoF+ enables head movements for a seated person adding horizontal, vertical, and depth translations. The 3DoF+ $360^{\circ}$ video is positioned between 3DoF and six degrees of freedom, which can realize the motion parallax with relatively simple virtual reality software in head-mounted displays. This article introduces the standardization trends for the 3DoF+ video in the MPEG-I visual group.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.38-45
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• 2010

Surface has been an important issue in contemporary architecture. That originates in structural freedom of surface since the end of modern architecture and the current stream of surface becoming an identity of building. Development of digital-media has brought a great change to our society in general. Digital-media is characterized by use of digital-information and interactive communication. Digital-media has been applied on surface in contemporary architecture lately. It is a purpose of the study to analyze the characteristics of digital-media application on surface based on the related characteristics of installation art. The categories and the contents for the frame of case analysis were arranged through document research. The foreign and domestic cases of digital-media application were analyzed based on the frame of analysis. Digital-media, which is installed on surface, is interacted with human and surroundings. It enhances emotional communication between human and architecture. Surface is not any more a simple fixture but an interactive creature. It makes surface more dynamically and fluidly that the course of light and human movement affect on digital-media. Surface itself is also turned into an object of art. It reflects the interweaving characteristics between contemporary architecture and installation art. It was analyzed through the study that emotional level of people is the important issue shared in digital-media application on surface and installation art. The complementary relationship between surface of contemporary architecture and installation art can be manipulated by the application of digital-media on surface.