• Annual Conference on Human and Language Technology
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• 2015.10a
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• pp.228-230
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• 2015

방송 대본은 방송 콘텐츠에 대해 얻을 수 있는 가장 주요한 텍스트 데이터 중에 하나이다. 본 논문에서는 토픽 모델을 통해 방송 대본 분석을 수행하고 그 결과를 제시한다. 방송 대본을 토픽 모델로 학습하기 위해 대본의 장면 단위로 문서를 구성하여 학습하여 대본의 장면을 분석하고 등장인물 단위로 문서를 구성하여 등장인물을 분석하여 그 특징을 살펴본다. 토픽 모델을 사용하여 방송 대본을 분석하는 과정에서 방송 대본이 가지는 특징을 분석하고 그로부터 향후 연구방향에 대해 논의한다.

• Annual Conference on Human and Language Technology
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• 2022.10a
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• pp.198-204
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• 2022

대화 요약은 다중 발화자와 발화문으로 이루어진 멀티턴 형식의 문서에 대해 핵심내용을 추출하거나 생성하는 태스크이다. 대화 요약 모델은 추천, 대화 시스템 등에 콘텐츠, 서비스 기록에 대한 분석을 제공하는 데 유용하다. 하지만 모델 구축에 필요한 한국어 대화 요약 데이터셋에 대한 연구는 부족한 실정이다. 본 논문에서는 생성 기반 대화 요약을 위한 데이터셋을 제안한다. 이를 위해 국내 방송사의 대용량 콘텐츠로 부터 원천 데이터를 수집하고, 주석자가 수작업으로 레이블링 하였다. 구축된 데이터셋 규모는 6개 카테고리에 대해 약 100K이며, 요약문은 단문장, 세문장, 2할문장으로 구분되어 레이블링 되었다. 또한 본 논문에서는 데이터의 특성을 내재화하고 통제할 수 있도록 대화 요약 레이블링 가이드를 제안한다. 이를 기준으로 모델 적합성 검증에 사용될 디코딩 모델 구조를 선정한다. 실험을 통해 구축된 데이터의 몇가지 특성을 조명하고, 후속 연구를 위한 벤치마크 성능을 제시한다. 데이터와 모델은 aihub.or.kr에 배포 되었다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2014.11a
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• pp.175-176
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• 2014

본 논문에서는 시각장애인의 TV 시청 보조기술인 화면해설방송(Descriptive Video Service)에 있어 다양한 편의 기술을 적용하여 저작자로 하여금 편리하고 경제적으로 화면해설방송물을 제작할 수 있도록 하는 저작 기술을 제안한다. 제안하는 방법은 화면해설 대본 작성의 편의를 위한 화면해설 삽입 추천 기술과 성우 음성 더빙을 대체할 수 있는 TTS 기반의 합성음성 기술, 또한 마스터 오디오와 합성음성 화면해설을 믹싱하기 위한 오디오 믹싱 기술을 포함한다. 마지막으로, 제안하는 기술의 구현 예를 제시한다.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.690-695
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• 2009

본 논문은 영화, 방송, 애니메이션 등의 다양한 동영상 콘텐츠에 수화 애니메이션을 합성하여 동영상 콘텐츠를 청각 및 언어장애인들에게 이해시키기 위한 수화 통역 VR 콘텐츠 시스템을 제안하고자 한다. 제안된 시스템은 수화 사전에 있는 수화들을 3D 애니메이션으로 DB화하기 위해, 모션 캡처 시스템과 데이터 글러브를 사용하여 실제 사람처럼 자연스러운 애니메이션을 생성하였다. 최종적으로 동영상 콘텐츠의 자막이나 대본의 구문분석을 한 후, 이를 수화용 단어자막을 통해 수화 애니메이션을 DB에서 검색한 후, 실시간적으로 기존 동영상 콘텐츠와 동기합성을 하여 수화 통역 콘텐츠를 제공하는 VR 콘텐츠 시스템을 구현하였고 이 시스템을 동화용 애니메이션에 적용하였다.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.645-661
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• 2021

Scriptwriters have appeared in Korea's broadcasting production system for more than 40 years as a key producer. This study specifically investigated the work identity and labor experience of scriptwriters who have played countless roles from planning and organizing programs in various broadcast genres such as non-drama informative program, entertainment, news, and radio to script writing. As a result of examining the work identity and labor experience of the scriptwriters based on the auto-ethnography of the 20 scriptwriters working in the field, they felt that they had an " indispensable" program producer and a media culture producer and at the same time felt that they were taking on tasks that were unclear. They felt that the cause of this inequality was a problem of the production system and employment type, but they recognized that they could not be solved individually, and they were developing their own skills or building connections to get work, and expanding their areas unconditionally.

• The Journal of the Korea Contents Association
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• v.9 no.4
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• pp.181-188
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• 2009

With the question, "What would be the difference between TV drama image production techniques under the changing circumstances of domestic broadcasting faced with multi-media, multi-channel age after 1980' s press unification and establishment of two times commercial TV stations?" This study analysed image production techniques of three periods of TV drama development, 'TV drama maturity period(1981-1990)', 'TV drama transition period(1991-2000)', 'TV drama take-off period(2001-)'. For the image analysis within the genre of home drama, 3 dramas for each period were selected and analysed cameraworks, shot size, shot duration with the broadcasting station's DVD, homepage and manuscript. The result of this analysis revealed that the change of shot size was slight but the change of cameraworks was great, the usage of zoom and tilt diminished but the usage of dolly and track increased. and the average shot duration drastically diminished during the take-off period. These results show us that broadcasting production equipments developed during the periods, and broadcasting stations poured all-out efforts for the higher viewing rates and international competitiveness.

• 지역과문화
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• v.7 no.3
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• pp.23-48
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• 2020

Hahoebyeolsingut Talnori, which is under permanent performance, has lost its relevance to folklore and rituals of the villagers and has secured the possibility of change depending on the actor's choice. This article seeks to expand the current stuck performance of Hahoe mask play, which has great significance as a play and play for the audience. To this end, We studied the possibility of expanding the performance of Hahoe Talnori by trans-identity of the Choragi. Chorangi character derides yangban, seonbi and monk, who are representatives of the establishment. Those who have a consciousness of potential transformation, those who passively represent the masses, and those who are tacitly authorized by the audience to ridicule the ruling class. The audience feels exhilarated by the super-cool, but at the same time reduces the limits. We transformed Chorangi who is clever but cannot overcome the limits of his status, into a character with a sense of transformation by applying the method of turnning identity and changing identity of the theory of trans-identity. And I applied the method of expansion of the media conversion storytelling theory to create a new Chorangi Madang that conforms to the audience's needs and the spirit of the times. In addition to the performance of Yangban Seonbi Madang(Act of Nobleman and Scholar) which ends with an ambiguous reconciliation, we wanted to complete it in a way that even today's audiences could accept by applying the function of the Hahoebyeolsingut Talnori ambassador and the principle of implementation. And We writed it in a script. This article is meant to be an experimental study that attempted to transform traditional performing arts in the context of new creation of tradition. Preservation and transmission of traditional performing arts are important, but it is necessary to move forward according to the trend and spirit of the times.

• (The) Research of the performance art and culture
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• no.43
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• pp.145-172
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• 2021

Shin Myung-soon's is based on the taboo 'bombing of the Han River Bridge'. The reality of the bombing of the Han River Bridge in 1950 and the shooting of Colonel Choi Chang-sik was known only as a word of mouth. At that time, the ruling class did not want to reveal the painful mistakes of the unfavorable war situation in the early days of the war and the false broadcasting of the president. The truth of the case, which was kept completely secret even to the bereaved family, could only be revealed after the regime change. After that, the bereaved family of Colonel Choi Chang-sik confirmed the innocence of the deceased through a request for retrial, and then the was born. However, the fate of was not so smooth. At the time, the performance officials vividly remember the difficulties they had with the text. Despite passing the pre-screening of the script, the performance was canceled just before the performance. The fact that the National Theater, officials from the Ministry of Culture and Education, and even military generals visited the practice room to stop the performance, on the contrary, was a testimony to the dangers of . It can be summarized as a crack in official history and a move to stop it. was later adapted into a special TV drama in 1981 and was first released to the public. This was a very meaningful step in terms of dealing with politically sensitive subjects on television, but the inconsistency of in the first place has largely disappeared. After that, in 1988, only after democracy entered the phase of appeasement, could be performed in its full form. In short, can be said to be an example of a process in which the history of the Korean War recorded from the standpoint of an established order and the counter-memory that crack it up are transformed according to the changes of the times and media.