• Journal of Digital Convergence
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• v.12 no.3
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• pp.263-268
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• 2014

The purpose of this study is to provide a quantitative evaluation index of object-oriented software development productivity for EJB 3.0 and EJB 3.1. A lightweight container architecture is a newly-developed architecture in order to solve demerits that N-Tiers enterprise architecture has and to support merits therein. A lightweight container architecture is not as heavy as EJB(Enterprise JavaBeans) architecture is, whereas it provides all the functionality of the EJB container. However, there have been insufficient studies on a performance evaluation of EJB 3.0 and EJB 3.1 on an identical platform. Since a quantitative analysis has been performed only with respect to a partial LoC(Line of Code) analysis, there have been insufficient objective evaluation indeces and guidelines for a new specification released. Accordingly, there has been limited evaluation of software development productivity and on new innovations in a project. Therefore, this study designed and implemented a movie reservation system in EJB 3.0 and EJB 3.1, which was based on the same development platform environment. This study then intends to provide evaluation guidelines for an objective software development productivity cl LoC(Lineand standardization thereof by development platform environment.

• International Commerce and Information Review
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• v.1 no.1
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• pp.57-66
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• 2008

The best value proposition for the customers of satellite-DMB (hereinafter referred to as the "S-DMB") business in an environment of fierce competition shall be securing the best killer contents and distribute them in reasonable price as a mobile contents platform provider. In an era of merging the broadcasting with the communication, although many new players tapping into the market with state-of-the-art media such as digital convergence, the key to success in the market is dependent on whether the respective digital contents providers retain competitive digital contents which suit the taste of customers. Considering such market conditions, the purpose of this study is to look over the management examples of Korean S-DMB providers which is carrying out business in digital multi-media market and opening up the market, and to analyze the management strategies of domestic S-DMB companies to be the champion in the market.

• Journal of the Korea Society of Computer and Information
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• v.23 no.4
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• pp.17-24
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• 2018

This paper proposes data mining models relevant to the serial publication periods and mobile gamification likelihood of webtoon contents which were either serialized or completed in platform. The size of the cartoon industry including webtoon takes merely 1% of the total entertainment contents industry in Korea. However, the significance of webtoon business is rapidly growing because its intellectual property can be easily used as an effective OSMU (One Source Multi-Use) vehicle for multiple types of contents such as movie, drama, game, and character-related merchandising. We suggested a set of data mining classifiers that are deemed suitable to provide prediction models for serial publication periods and mobile gamification likelihood for the sake of webtoon contents. As a result, the balanced accuracies are respectively recorded as 85.0% and 59.0%, from the two models.

• Journal of Power Electronics
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• v.10 no.6
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• pp.643-646
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• 2010

An interactive web-based teaching tool for a power semiconductor course at the University of Central Florida is presented in this paper. A novel approach is introduced using Technology Aided Design Tools (TCAD) to generate time-lapsed 2D semiconductor device cross-section embedded in a webpage using $Adobe^{(R)}$ Flash (web design tool) platform to create interactive movies that demonstrate complex device physical phenomenon. Students can step through the interactive movies forward, backward, pausing, or looping. Each step represents a giving bias condition. Current-voltage plots are represented along with the semiconductor device and a visual point is placed on the IV curve to indicate the current bias conditions. The changes are then reflected in the 2D cross-section movie area and the IV plot. This tool was implemented in a classroom setting to augment the lectures or for discovery learning.

• Journal of Information Technology Services
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• v.18 no.3
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• pp.37-51
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• 2019

This study aims to establish the direction of development of Korean cinematography technology in the era of the 4th Industrial Revolution and present future development plan. First, in order to diagnose the current status, supporting policies of various countries and film technology research trends were analyzed. Each country is expanding the support for film technology including tax credits. Through the analysis of patents and research papers, recent issues have shown that Virtual Reality, HMD, Artificial Intelligence, and Big Data are applied to film technology. Next, the survey results of Korean film technology level for filmmakers were 70% for production, 47.5% for distribution, and 60.3% for screening comparing to the level of the leading country. The gap was caused by the lack of funds for research and development and insufficient government support policies. In addition, interviews with film makers revealed the need to support filmmaking that combines technologies such as localized film technology, artificial intelligence, and deep learning. Finally, it is suggested that technology sharing platform should be developed in the future through the discussions of technology, science and academic experts', and technology development should be carried out in the field. As a result, film technology R&D should be promoted in order to develop technologies specific to movies. Advanced technology foundation for the growth of film technology should be developed to systematically equip the infrastructures such as education and human resources. In addition, technology development that links standardization should be carried out. In this study, we propose the development of Korean film technology to prepare for the 4th Industrial Revolution, and it is expected that the 2022 film technology power nation will be realized.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2021.10a
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• pp.277-280
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• 2021

Recently as various contents are mass produced based on high accessibility, the media contents market is more active. Users want to find content that suits their taste, and each platform is competing for personalized recommendations for content. For an efficient recommendation system, high-quality metadata is required. Existing platforms take a method in which the user directly inputs the metadata of an image. This will waste time and money processing large amounts of data. In this paper, for media hyperpersonalization recommendation, keyframes are extracted based on the YCrCb color model of the video based on movie trailers, movie genres are distinguished through supervised learning of artificial intelligence and In the future, we would like to propose a utilization plan for generating metadata.

• Asia-Pacific Journal of Business
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• v.15 no.2
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• pp.1-22
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• 2024

Purpose - The Chinese fan community includes a significant number of young and middle-aged individuals, playing a crucial role in emotional mobilization and social engagement. In recent years, the impact of Celebrity Pairing or Character Pairing (CP) on Weibo has grown notably, partly due to features like Super Topics and Hot Searches. This phenomenon has enhanced fan engagement, resulting in heightened participation in discussions and interactions on the platform. Our study targets CP fans of movies and television dramas on Weibo and aims to identify the factors that drive their emotional sharing. Design/methodology/approach - The research methodology integrates Self-Determination Theory and Social Sharing of Emotion Theory within the EASI (Emotion, Attachment, and Social Integration) model. This approach aims to uncover how CP fans meet their emotional needs via social media and determine the factors influencing their sharing intentions and behaviours. Data were collected through online surveys, yielding 504 valid responses Findings - The analysis, performed with SPSS and Smart PLS software, reveals that self-determination, interpersonal relationships, and social media tolerance significantly affect fans' intentions to share content. Specifically, intrinsic motivation, driven by self-determination, is a critical factor in CP fans' propensity to share content, highlighting the importance of 'inward socialization.' Additionally, the study finds that external factors, like the social media environment, play a more minor role than internal motivators. Research implications or Originality - This research enhances quantitative research methodologies by identifying intrinsic and extrinsic motivations that satisfy the emotional needs of CP fans. It distinguishes between individual, interpersonal, and collective/social factors as motivational elements, providing insights into the emotional and psychological needs of the Chinese movie and TV drama fan community.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.119-126
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• 2019

Watching movies is common on a big screen like a theater or on a big-screen TV. nowadays, small platform such as mobile devices is increasing rapidly for watch a movie. These changes are deeply related to the advent of Internet-based video streaming services such as OTT. OTT's development has provided in free video viewing system without using the set-top box is free from the limitations of time and space. Leading the market is Netflix[1], which started its business with Internet-based DVD rental service. Netflix, which is growing in tandem with the mobile market, had 193.26[2] million members as of the end of 2018. Other OTT participating companies include content-based Pooq, TVing, platform-based Olleh TV Mobile, Oksusu and LTE video portal. The size of such new growth projects has grown gradually, with 25.4 percent of all smartphone users currently watching video content with small mobile devices. Therefore, de-largeization, it is thought that visual language is needed for viewing small mobile devices that are capable of OTT services. To this end, this paper will identify the problem in viewing popular video content with small mobile devices and Survey and study its impact on viewers using the questionnaire.

• Review of Culture and Economy
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• v.21 no.3
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• pp.59-88
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• 2018

This study examines demand of the Korean TV VOD using monthly aggregate data and time series analysis models. In particular, the impact of box office attendance, number of IPTV subscribers, income and price of substitutes on TV VOD market is analyzed. Data on TV VOD download during the period 2013 January to 2018 June are used for the empirical analysis. TV VOD demand shows lower level of seasonality than box office attendance and the share of monthly top1 movie in TV VOD platform is also lower than that of box office attendance. The relationship between a movie's holdback and box office performance does not seem consistent. The empirical result of ARDL model reveals that in the short-run box office attendance, number of IPTV subscribers and price of substitutes have significant impact on TV VOD demand. The result on the long-term relation shows that income is the only determinant of TV VOD demand. The impact of box office attendance on TV VOD is not shown to be robust both for the short-term and long-term.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.949-960
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• 2021

Documentaries based on facts not only contain the spirit of that era but have been transformed in various ways according to changes in technologies and media. This study analyzed under the premise that the original documentary of YouTube plays a role in representing the characteristics of the medium. YouTube's original documentary is released on YouTube and then re-edited and released as a documentary film, and has the same shooting source, and is edited and described differently depending on whether it is a YouTube or a movie. This is the content that can confirm the media differences between YouTube documentary and documentary film. The cinema version shows the difference in that the narrative is developed using third-person narration and subtitles, mainly for handheld shooting and smooth editing, and the YouTube version is developing the narrative centering on audio-centric rough editing, interviews and background music. Through this, it can be seen that the YouTube version reinforces intimacy through a personal and direct expression method, while the cinema version reinforces objectivity through an official and indirect expression method.