• Journal of Broadcast Engineering
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• v.8 no.1
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• pp.54-62
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• 2003

This paper presents a Soccer Game 3D Reencatment System which reenact the Important scene like getting a goal with image processing and computer graphics technologies. KBS Research Institute of Technology has developed the 3D Reenactment System of Soccer Game called ‘VPlay' to provide TV viewers with fresh images in soccer games. Vplay generates the reenactment of exciting and important soccer scenes by using computer graphics. Vplay extracts legion of players from video with color information, and then computes precise positions of players on the ground by using global motion estimation model and playground axis transformation model. The results are applied to locomotion generation module that generates the locomotion of virtual characters automatically. Using predefined motion and model library, Vplay reenacts the important scene in a quick and convenient manner Vplay was developed for live broadcasting of soccer games that demands rapid producing time and was used efficiently during past WorldCup and Asian Game.

• The Journal of the Korea Contents Association
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• v.9 no.9
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• pp.180-190
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• 2009

This study focuses on how NHK, a Japanese public broadcasting company, has promoted the public interest through the contents of its serial dramas including "morning dramas." Study results indicate that NHK has made utmost efforts to promote public interest in accordance with the programing regulations stipulated in the Japanese Broadcasting Art. The study shows that NHK has adopted policies to protect transitional cultures of the past and to promote new cultures through drama contents. NHK has shown its intention to protect traditional cultures by broadcasting completely not only the values that Japanese people have upheld but also traditional cultures and people's professional spirits of Japan. The study also shows that NHK makes efforts to contribute to community development with the drama contents. It appears that NHK attaches a great importance on its public promise with viewers by early fixing and well observing the broadcasting season, period, and time of morning dramas in an efforts to promote their public interest.

• Convergence Security Journal
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• v.22 no.2
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• pp.91-98
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• 2022

Because the movie has the characteristics of a cultural product where experience is important, a promotional strategy is used to convert viewers into movie audiences by providing indirect experiences of movies through professional movie information programs. Considering that the movie information program is a strategic publicity medium that raises the audience's intention to watch a movie, a study on the data service that provides useful additional information to the viewer in conjunction with the movie information program is meaningful. Against this background, this study contains the core research contents in the development of data service linked with movie information program. Specifically, additional information of the movie information program was defined. And to provide the additional information to the data service, the digital broadcasting international standard DVB-SI-based additional information transmission method was devised.

• Trans-
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• v.15
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• pp.57-79
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• 2023

This study aims to explore the strategies and effects of SNS images used by four popular male beauty influencers to gain identification with their female fans. The research selected four male beauty influencers, namely Li Jiaqi, Jeffree Star, James Charles, and Bretman Rock, with a high number of subscribers on Instagram, YouTube, and TikTok as of July 21, 2023. By observing the content they posted on SNS, the study analyzed the types, characteristics, and relevance of male beauty influencer images with their female fans using Lacan's gaze theory. Additionally, concepts related to gaze, such as the mirror stage, the screen, and objet petit a, were supplemented to conduct an in-depth analysis of the characteristics of male beauty influencer images and the motivations of female viewers. The study results suggest that male beauty influencers can maintain an intimate relationship, referred to as 'girl-friendship,' with their female fans through the identification formed by the homogeneity within the feminized mirror images. Furthermore, male beauty influencers can transform female viewers from being seen as objects to seeing them as subjects by presenting images that embrace diversity in gender identity, challenging the traditional notions of societal gender norms. Therefore, the images of male beauty influencers not only challenge gender stereotypes but also cater to the demands for independence and equality of modern young women, promote understanding of feminine gaze, and explore the potential for democratization and inclusivity on social media platforms from a new perspective.

• Asia pacific journal of information systems
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• v.19 no.3
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• pp.25-49
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• 2009

Advances in technology have resulted in the emergence of new information systems. The convergence of IT and manufacturing sectors has blurred the boundaries among industries. Also, such convergence has become established as a paradigm to build a new area. Especially the convergence of broadcasting and telecommunication, notably in the case of IPTV (Internet Protocol Television), is among the most salient examples of its kind in recent years as a major case of disruptive technology innovation. Despite its much fanfare, such convergence, however, has not fulfilled the expectation; it has not produced positive economic effects while negatively affecting the growth of IPIV. Stakeholders in and around IPIV including telecommunication companies, broadcasting corporations, and government bodies wish to gain control of IPTV under their wings. IPTV has drifted in the midst of conflicts among the stakeholders in and around IPTV, particularly telecommunication and broadcasting organizations in a broad sense. Our empirical research intends to deal with how audiences accept IPTV and how firms provide IPTV services to utilize their resources. Three research questions in this paper include, first, whether Technology Acceptance Model (TAM) can sufficiently explain the acceptance of IPTV as an information system. The second question concerns with empirically testing the playful aspect of IPTV to increase its audience acceptance. Last, but not least, this paper deals with how firms can efficiently and effectively allocate their limited resources to increase IPTV viewers. To answer those three main questions of our study, we collect data from 197 current subscribers of high speed internet service and/or cable/satellite television. Empirical results show that 'perceived usefulness (PU) $\rightarrow$ Intention to use' and 'perceived ease of use (PEU) $\rightarrow$ Intention to use' are significant. Also, 'perceived ease of use' is significantly related to 'perceived usefulness.' Perceived ease of handling IPTV without much effort can positively influence the perceived value of IPTV. In this regard, engineers and designers of IPTV should pay more attention to the user-friendly interface of IPTV. In addition, 'perceived playfulness (PP)' of IPTV is positively related to 'intention to use'. Flow, fun and entertainment have recently gained greater attention in the research concerned with information systems. Such attention is due to the changing features of information systems in recent years that combine the functional and leisure attributes. These results give practical implications to the design of IPTV that reflects not just leisure but also functional elements. This paper also investigates the relationship between 'perceived ease of use (PEU)' and 'perceived playfulness (PP).' PEU is positively related to pp. Audiences without fear can be attracted more easily to the user-friendly IPTV, thereby perceiving the fun and entertainment with ease. Practical implications from this finding are that, to attract more interest and involvement from the audience, IPTV needs to be designed with similar or even more user friendly interface. Of the factors related to 'intention to use', 'perceived usefulness (PU)' and 'perceived ease of use (PEU)' have greater impacts than 'perceived playfulness (PP).' Between PU and PEU, their impacts on 'intention to use' are not significantly different statistically. Managerial implications of this finding are that firms in preparation for the launch of IPTV service should prioritize the functions and interface of IPTV. This empirical paper also provides further insight into the ways in which firms can strategically allocate their limited resources so as to appeal to viewers, both current and potential, of IPTV.

• 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.

• Journal of Intelligence and Information Systems
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• v.17 no.3
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• pp.203-219
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• 2011

Previously common users just want to watch the video contents without any specific requirements or purposes. However, in today's life while watching video user attempts to know and discover more about things that appear on the video. Therefore, the requirements for finding multimedia or browsing information of objects that users want, are spreading with the increasing use of multimedia such as videos which are not only available on the internet-capable devices such as computers but also on smart TV and smart phone. In order to meet the users. requirements, labor-intensive annotation of objects in video contents is inevitable. For this reason, many researchers have actively studied about methods of annotating the object that appear on the video. In keyword-based annotation related information of the object that appeared on the video content is immediately added and annotation data including all related information about the object must be individually managed. Users will have to directly input all related information to the object. Consequently, when a user browses for information that related to the object, user can only find and get limited resources that solely exists in annotated data. Also, in order to place annotation for objects user's huge workload is required. To cope with reducing user's workload and to minimize the work involved in annotation, in existing object-based annotation automatic annotation is being attempted using computer vision techniques like object detection, recognition and tracking. By using such computer vision techniques a wide variety of objects that appears on the video content must be all detected and recognized. But until now it is still a problem facing some difficulties which have to deal with automated annotation. To overcome these difficulties, we propose a system which consists of two modules. The first module is the annotation module that enables many annotators to collaboratively annotate the objects in the video content in order to access the semantic data using Linked Data. Annotation data managed by annotation server is represented using ontology so that the information can easily be shared and extended. Since annotation data does not include all the relevant information of the object, existing objects in Linked Data and objects that appear in the video content simply connect with each other to get all the related information of the object. In other words, annotation data which contains only URI and metadata like position, time and size are stored on the annotation sever. So when user needs other related information about the object, all of that information is retrieved from Linked Data through its relevant URI. The second module enables viewers to browse interesting information about the object using annotation data which is collaboratively generated by many users while watching video. With this system, through simple user interaction the query is automatically generated and all the related information is retrieved from Linked Data and finally all the additional information of the object is offered to the user. With this study, in the future of Semantic Web environment our proposed system is expected to establish a better video content service environment by offering users relevant information about the objects that appear on the screen of any internet-capable devices such as PC, smart TV or smart phone.

• Journal of Intelligence and Information Systems
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• v.21 no.1
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• pp.83-98
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• 2015

Many TV viewers use mainly portal sites in order to retrieve information related to broadcast while watching TV. However retrieving information that people wanted needs a lot of time to retrieve the information because current internet presents too much information which is not required. Consequentially, this process can't satisfy users who want to consume information immediately. Interactive video is being actively investigated to solve this problem. An interactive video provides clickable objects, areas or hotspots to interact with users. When users click object on the interactive video, they can see additional information, related to video, instantly. The following shows the three basic procedures to make an interactive video using interactive video authoring tool: (1) Create an augmented object; (2) Set an object's area and time to be displayed on the video; (3) Set an interactive action which is related to pages or hyperlink; However users who use existing authoring tools such as Popcorn Maker and Zentrick spend a lot of time in step (2). If users use wireWAX then they can save sufficient time to set object's location and time to be displayed because wireWAX uses vision based annotation method. But they need to wait for time to detect and track object. Therefore, it is required to reduce the process time in step (2) using benefits of manual annotation method and vision-based annotation method effectively. This paper proposes a novel annotation method allows annotator to easily annotate based on face area. For proposing new annotation method, this paper presents two steps: pre-processing step and annotation step. The pre-processing is necessary because system detects shots for users who want to find contents of video easily. Pre-processing step is as follow: 1) Extract shots using color histogram based shot boundary detection method from frames of video; 2) Make shot clusters using similarities of shots and aligns as shot sequences; and 3) Detect and track faces from all shots of shot sequence metadata and save into the shot sequence metadata with each shot. After pre-processing, user can annotates object as follow: 1) Annotator selects a shot sequence, and then selects keyframe of shot in the shot sequence; 2) Annotator annotates objects on the relative position of the actor's face on the selected keyframe. Then same objects will be annotated automatically until the end of shot sequence which has detected face area; and 3) User assigns additional information to the annotated object. In addition, this paper designs the feedback model in order to compensate the defects which are wrong aligned shots, wrong detected faces problem and inaccurate location problem might occur after object annotation. Furthermore, users can use interpolation method to interpolate position of objects which is deleted by feedback. After feedback user can save annotated object data to the interactive object metadata. Finally, this paper shows interactive video authoring system implemented for verifying performance of proposed annotation method which uses presented models. In the experiment presents analysis of object annotation time, and user evaluation. First, result of object annotation average time shows our proposed tool is 2 times faster than existing authoring tools for object annotation. Sometimes, annotation time of proposed tool took longer than existing authoring tools, because wrong shots are detected in the pre-processing. The usefulness and convenience of the system were measured through the user evaluation which was aimed at users who have experienced in interactive video authoring system. Recruited 19 experts evaluates of 11 questions which is out of CSUQ(Computer System Usability Questionnaire). CSUQ is designed by IBM for evaluating system. Through the user evaluation, showed that proposed tool is useful for authoring interactive video than about 10% of the other interactive video authoring systems.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.73-116
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• 2019

In recent years, television dramas have adopted an emerging approach of imagining a just society via fantasy. This study set out to examine by stages the patterns of social justice in I Hear Your Voice, Pinocchio, and While You Were Sleeping written by Park Hye-ryeon, who has been leading this trend. I Hear Your Voice shows why social justice is needed, as it is set against the backdrop of a society in which legal justice has collapsed. In this drama, the collapse of the legal justice system indicates that democratic society is falling apart at the roots. As a result, pain and suffering is propagated among the petit bourgeois, with social justice being demanded as an alternative to this problematic reality. The supernatural power of reading the thoughts of others is used to remind viewers of the value of truth and trust and raises the possibility of the existence of a true heart as an alternative from a social justice perspective. Set in a society in which media justice is distorted, Pinocchio makes an attempt at changing ideas about social justice. In this drama, the corrupt media justice covers up truth and becomes a parasite to power, creating victims that are falsely accused. In this situation, the Pinocchio Syndrome, which makes people hiccup when telling a lie, shows paradoxically that truth can be distorted, and ultimately destroys absoluteness that is not truth. Finally, While You Were Sleeping inherits the world views of the two previous dramas and proposes a type of social justice called 'common good' as an alternative. A completely unfair society is created when legal justice collapses and media justice is distorted. In this situation, the ability to see the future is an ability to imagine a world of possibilities. Altruistic choices based on trust in others help us to realize a positive future. Social justice as common good to enable solidarity among subjects in a way that transcends the limitations of time and space is proposed as an alternative to overcome the problem of an unfair society. Given the recent reality of South Korean society, this common good and these ways of life might literally seem like a fantasy. When social justice is represented by efforts and reconstruction processes to overcome the current social issues and make a better future, common good based on the understanding and sympathy of others can be an alternative to improve a reality that is problematic at its root. Ultimately, Park's three works explore the feasibility of a just society that is yet to come from the aspect of the common good.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2010.11a
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• pp.14-17
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• 2010

Following the proliferation of three-dimensional video contents and displays, many terrestrial broadcasting companies prepare for starting stereoscopic 3DTV service. In terrestrial stereoscopic broadcast, it is a difficult task to code and transmit two video sequences while sustaining as high quality as 2DTV broadcast attains due to the limited bandwidth defined by the existing digital TV standards such as ATSC. Thus, a terrestrial 3DTV broadcasting system with heterogeneous video coding systems is considered for terrestrial 3DTV broadcast where the left image and right images are based on MPEG-2 and H.264/AVC, respectively, in order to achieve both high quality broadcasting service and compatibility for the existing 2DTV viewers. Without significant change in the current terrestrial broadcasting systems, we propose a joint rate control scheme for stereoscopic 3DTV service. The proposed joint rate control scheme applies to the MPEG-2 encoder a quadratic rate-quantization model which is adopted in the H.264/AVC. Then the controller is designed for the sum of two bit streams to meet the bandwidth requirement of broadcasting standards while the sum of image distortions is minimized by adjusting quantization parameter computed from the proposed optimization scheme. Besides, we also consider a condition on quality difference between the left and right images in the optimization. Experimental results demonstrate that the proposed bit rate control scheme outperforms the rate control method where each video coding standard uses its own bit rate control algorithm in terms of minimizing the mean image distortion as well as the mean value and the variation of absolute image quality differences.