• 기술사
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• 제30권4호
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• pp.18-29
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• 1997

The telecommunications industry pro-grossed as old media, but new media is going into a new era of multi-media in the 21st century. In the latter half of 1970s we saw a boom of new media as a post-telephone era began. As the machines grew to the world level(standard), facsimiles, minitels of France and word processors of Japan were developed. Today some 15 years since the advent of new media era, the progress of technology is astonishing. Advancement of technology is seen in V and U letters attached to semiconductor chips, astonishing capability advancement of light emitting lasers and photo-diodes, etc and additionally technology advancement in large capacitized light disks. Thus these technologies have made possible transmitting a broad band network and a mobile communication and digitalized broadcasting. Increased capacity of every terminal, e.g, "letters $.$ voice $.$ still and mov-ing pictures" are essential for new media simultaneous and two -way transmission.

• International Journal of Internet, Broadcasting and Communication
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• 제13권1호
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• pp.168-179
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• 2021

With the introduction of China's new policies, the Chinese animation industry has gradually formed a sustainable industrial structure chain, and the output value of the animation market is also in a state of continuous growth. Since 2013, domestic animation has been developing from "lower age" to "ageing" and "adults". At the same time, with the popularization of China's pan-entertainment industry model, the multi-domain symbiosis of the Internet and mobile Internet has been realized, creating a fan economy of star IP (Intellectual Property), and promoting the linkage of various industries under the same IP. This paper mainly analyzes the development of the animation IP market in China's pan-entertainment mode in recent years, and analyzes the cross-media operation mode of the animation industry. At the same time, it studies the application of self-media in animation.

• 디지털산업정보학회논문지
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• 제11권2호
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• pp.121-129
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• 2015

Interactive media is a method of communication in which the output from the media comes from the input of the users. The interactive media lets the user go back with the media. Interactive media works with the user's participation. The media still has the same purpose but the user's input adds the interaction and brings interesting features to the system for a better enjoyment. We need a digital content using a dynamic motion and gesture of the mobile device. We made an authoring tool for content producers to easily create interactive content. We have tried to take advantage of the interaction by using a touch screen and a gravity sensor of the mobile device. This interaction may lead to allow the user to participate in the content, it can be used as a key device to assist in engagement. Furthermore, our authoring tool can be applied to various fields of publishing content.

• International Journal of Internet, Broadcasting and Communication
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• 제12권3호
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• pp.163-170
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• 2020

The purpose of this research is to organize panels centered on professional workers and experts in the sports media industry, identify structures and items of sports media commentators' attributes that conform to the present era through the collective agreement process, and evaluate the derived measures according to the scale development procedure. We would like to shed new light on the nature of commentators due to the rapid development of broadcasting technology and the emergence of new media platforms, the emergence and expansion of smart media receptors and the changing environment of modern sports broadcasting. For this purpose, a panel of experts from academia and industry related to sports management and sports media was organized and the attributes of commentators were analyzed using the Delphi method. Technology development in the sports market has created a new sports consumption environment. In these consumer environments, various environmental factors influence the consumer's consumption culture of sports consumers. For example, professional information, as well as interpretations of sports culture, history and society are becoming their share for sports commentators, and viewers are demanding more diverse characteristics from sports commentators. In this respect, the study of sports commentator attributes can be a deep understanding of the rapidly changing culture of sports consumption.

• 디지털산업정보학회논문지
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• 제12권3호
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• pp.157-166
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• 2016

This paper presents the interior space information using 6D-360 degree immersive media video information. And we implement the augmented reality, which includes a variety of information such as position information, movement information of the specific location in the interior space GPS signal does not reach the position information. Augmented reality containing the 6D-360 degree immersive media video information provides the position information and the three dimensional space image information to identify the exact location of a user in an interior space of a moving object as well as a fixed interior space. This paper constitutes a three dimensional image database based on the 6D-360 degree immersive media video information and provides augmented reality service. Therefore, to map the various information to 6D-360 degree immersive media video information, the user can check the plant in the same environment as the actual. It suggests the augmented reality service for the emergency escape and repair to the passengers and employees.

• International Journal of Advanced Culture Technology
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• 제8권3호
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• pp.247-253
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• 2020

It has emerged Food-content among various forms of 1-person media through social media. Food-content influencer also market products through 1-person media, generating revenue through increased views and subscribers of 1-person media. It also sells products through sponsorship. In general, there is a profit structure through 1-person media viewing, but research on how restaurant companies generate profits directly through food-content is insufficient. In addition, research on converting subscribers to consumers through food-contents is minimal. In this paper, we propose an experiential application system based on the behavior of food-content creators. The proposed system collects and categorizes food-content information, and maps between highly related words to organize into keyword categories. The ontology tag-based concept network applied to the proposed system connects representative information by pre-extracting/mapping information related to information requests among a wide range of data. This method maps relevant food-content information to provide the user with data collected/storage in the form of an application. The user uses the application while watching the food eaten by the influencer and creator. And, it is meaningful that the user could be provided is provided with information about the food they want to eat.

• 디지털산업정보학회논문지
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• 제14권2호
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• pp.61-67
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• 2018

This media conversion in which webtoons are remediated to movies and dramas has taken off since the mid-2000s. Webtoons may be favorable for media conversion into movies and dramas as the story as finished and has proven to be fun with a fixed readership: however, only a small number of webtoon were successful box office hits or received high viewer ratings. Then in 2017, the movie based on the webtoon, succeed in attracting more more then 10 million viewers. In this regard, this study derived the success factors by comparing and analyzing the narrative structure and visual elements of , which was the biggest hit movie, with the original webtoon. The case analysis showed that there are two necessary elements for success: a text configuration of strategy optimized for media conversion, which is based on understanding the different media characteristics of webtoon and movie; and a configuration strategy that exaggerates the personalities of the characters and compresses the story of a webtoon which features various events and many characters in a long series, in consideration of the characteristics of movie which needs to give a big impact in 2 hours.

• 한국의류산업학회지
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• 제25권4호
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• pp.429-438
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• 2023

In the 21st century fashion industry, the rise of digital environments has transformed it into a dynamic medium, expanding the horizons of media utilization. Consequently, digital fashion film has emerged as a pivotal tool for fashion communication. Functioning as a visual expression medium, fashion film animates fashion concepts into immersive moving images. Proficiency in digital fashion communication has become imperative, considering the attributes of fashion media. Notably, the role of creative directors in ensuring coherent communication across diverse fashion media platforms has gained prominence, underscoring the need for systematic fashion education to nurture specialized talent. This study, therefore, devised a comprehensive curriculum amalgamating fashion communication and practical digital media skills, implemented within fashion major courses. Through this approach, students gained experimental media proficiency and explored innovative approaches to crafting fashion films that eloquently convey fashion narratives. The participants were exposed to the entire spectrum of fashion media production, encompassing digital storytelling, fashion film conceptualization, filming techniques, meticulous editing, and adept utilization of special effects technology. The study's pedagogical strategy, characterized by a focused learning trajectory, garnered significant acclaim. In essence, this study holds significance by formulating a curriculum that nurtures the imaginative and pragmatic aptitudes of fashion majors, immersing them in the dynamic realm of rapidly evolving digital fashion films and their integration with fashion content.

• 디지털융복합연구
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• 제12권6호
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• pp.559-568
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• 2014

오늘날과 같은 다매체 시대에서는 미디어의 형태(하드웨어)보다 미디어의 내용(콘텐츠)이 성패를 좌우한다고 해도 과언이 아닐 정도로 콘텐츠가 중요한 요소로 작용한다. 인기 있는 텔레비전 프로그램들은 국경을 넘어 공급되고 현지 시청자들에 맞게 각색된 이른바 '포맷'이라는 형태로 확산되고 있다. 이러한 포맷산업은 미국에서 시작되었지만 1990년대부터 유럽으로 주도권이 옮겨지게 되었고, 이후 "super-formats"에 의해 확고하게 자리잡은 산업이며 오늘날 연간 31억 유로로 추정되는 가치를 지니고 있다. 특히 2000년대 이후 세게 방송포맷산업의 중심지로 떠오른 영국의 사례는 문화콘텐츠산업을 육성하고자 하는 한국에 시사하는 바가 크다고 할 수 있다. 본 연구는 이러한 방송포맷산업의 역사를 연대기적으로 고찰하고 콘텐츠 강국으로서의 영국이 가진 산업적 배경을 살펴봄으로써 한국의 콘텐츠산업에 시사하는 바를 찾고자 함에 그 목적이 있다.

• 한국콘텐츠학회논문지
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• 제8권3호
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• pp.67-74
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• 2008

게임, 애니메이션, 영화와 같은 다양한 영상 미디어가 발전함에 따라 한 가지의 콘텐츠 소스를 여러 형태로 이용을 하는 확장으로서 피규어(Figure)라 일컬어지는 상품이 만들어 졌으며, 오늘날 많은 인기를 모으고 있다. 하지만 국내에서는 어린이들의 단순한 장난감 취급을 받으며 관련 산업의 발전이 더디게 이루어지고 있는 반면 외국의 경우 콘텐츠 산업에 있어서 마케팅의 수단으로 중요성을 인정받고 있다. 본 논문에서는 피규어에 대한 의미와 종류를 알아보고 철학적 사상과 이론을 통하여 피규어가 지닌 성격을 학문적고찰(발터 벤야민, 프로이드 및 심리학자들의 이론)을 통하여 분석하였다. 현재 국내 외 피규어 산업은 발전을 지속하고 있으며, 특히 한류 스타라는 콘텐츠를 활용한 피규어는 문화 아이템으로서 많은 가치를 지니고 있으며 발전성이 있음을 알 수 있다.