• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2019.06a
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• pp.173-175
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• 2019

Animated images formats such as WebP are highly portable graphics formats that are being used everywhere on the Internet. Despite their small sizes and duration, WebP image previews the video without watching the entire content with minimum bandwidth. This paper proposed a novel method to generate personalized WebP images in the client side using its computation resources. The proposed system automatically extracts the WebP image from climax point using music analysis. Based on user interest, the system predicts the genre using Convolutional Neural Network (CNN). The proposed method can easily integrate with streaming platforms such as YouTube, Netflix, Hulu, and others.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2022.11a
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• pp.26-29
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• 2022

The diffuse sound field plays a crucial role in the perceptual quality of the auralization of virtual scenes. Diffuse Rain is a geometrical scattering model which enables the simulation of diffuse fields that is compatible with acoustic ray tracing, but is often computationally expensive. We develop a novel method that can reduce this cost by rendering the large number of Diffuse Rain data in Ambisonics format. The proposed method is evaluated in a shoebox scene simulation run on MATLAB, in reference to a more faithful method of rendering the Diffuse Rain data ray-by-ray. The EDC and IACC of the binaural output show that the simulated diffuse field can be rendered in Ambisonics with only minimal deviations in energy decay and spatial quality, even with 1^st-order Ambisonics.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2020.07a
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• pp.337-339
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• 2020

오디오 초 해상도 기술은 저 해상도의 오디오 신호를 이용하여 고 해상도의 오디오를 복원 또는 생성해 내는 기술이다. 본 기술 분야는 기존에 주파수 대역 확장, 인공 대역 확장 기술 등으로 연구되었으나, 최근 딥러닝 기술의 발전, 이미지 초 해상도 기술 연구 등에 힘입어 오디오 초 해상도 기술 이라는 이름으로 주로 연구되고 있다. 본 논문에서는 이러한 오디오 초 해상도 기술에 연구 동향에 대하여 설명하고, 기존의 논문 들에서 주로 다루고 있는 음성 데이터 베이스가 아닌 MedleyDB 음악 데이터 베이스를 활용하여 실험을 수행하였다. 실험은 4-폴드 교차 검증을 통해 수행되었으며, 실험 결과 제안하는 컨벌루션 신경망 구조 기반 오디오 초 해상도 기술은 입력 저해상도 오디오 대비 SNR 이 3.41 dB 향상됨을 확인하였다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2020.07a
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• pp.714-716
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• 2020

We propose a unique client-driven music genre classification solution, that can identify the music genre using a deep convolutional neural network operating on the time-domain signal. The proposed method uses the client device (Jetson TX2) computational resources to identify the music genre. We use the industry famous GTZAN genre collection dataset to get reliable benchmarking performance. HTTP live streaming (HLS) client and server sides are designed locally to validate the effectiveness of the proposed method. HTTP persistent broadcast connection is adapted to reduce corresponding responses and network bandwidth. The proposed model can identify the genre of music files with 97% accuracy. Due to simplicity and it can support a wide range of client hardware.

• Korean journal of communication and information
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• v.19
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• pp.7-36
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• 2002

The purpose of this study is to compare the webcasting and television from the perspective of genres. It adopted the niche theory in analyzing them, avoiding simply comparing the collective average of the two media's gratification. As a result, television turned out to expand broader at niche breadth than the Webcasting and thus presented more diverse functions thar the Webcasting. The niche overlap was investigated with the average of overlapping values. The competition between the two media was rather eased in dimensions of education, culture, and entertainment. And in terms of competitive superiority, the music service sector was the only function that the Webcasting had superiority to television. Upon the results, the Webcasting was absolutely inferior to television in a whole sense. But one thing which requires consideration is that the Webcasting will have functional mergers among genres and thus develop different functions from the corresponding ones of television.

• Journal of Broadcast Engineering
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• v.13 no.5
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• pp.602-611
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• 2008

The sound design performed in the production of media contents, such as TV, movie, and CF, have been conducted through the experienced feeling of some experts in the aspect of auditory effects that communicates stories. Also, there have been few studies of the quantitative approach and verification to apply visual and auditory effects felt by users. This study is a non-equivalent control group pretest-posttest design and investigates the difference in communication effects in which the difference in a sound design in the production of media contents that affects users. This study analyzed the brain quotient (BQ) obtained by the measurement of brain waves during the watching of an experiment image (track A) designed by using a 60-second TV CF only and an experiment image (track B) designed by sound effects and music and investigated which sound design represents differences in communication effects for users. The results of this investigation can be summarized as follows: First, in the results of the comparison of the attention quotient (ATQ), which is the BQ of recognition effects, between A and B tracks, the track A showed a higher difference in activation than the track B. It can be analyzed that the sound design based on music showed higher levels in attention and concentration than that of the sound effect design. Second, in the results of the comparison of the emotional quotient (EQ), which is emotional effects, between A and B tracks, the track A represented a higher difference than the track B. It means that the sound design based on music showed higher contribution levels in emotional effects than that of the design based on sound effects. Third, in the results of the comparison of the left and right brain equivalent quotient (ACQ), which is memory activation effects, between A and B tracks, there were no significant differences. In the results of the experiments, although there are some constraints in TV CF based on the conventional theories in which sound effects based design affects strong concentration, and music based design affects emotional feeling, the music based design may present more effects in continued concentration. In addition, it was evident that the music based design showed higher effects in emotional aspects. However, it is necessary to continue the study by increasing the number of subjects for improving the little differences in ACQ. This study is useful to investigate the communication effects of the sound based design in media contents as a quantitative manner through measuring brain waves and expect the results of this study as the basic materials in the fields of sound production.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2012.07a
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• pp.215-218
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• 2012

반도체 기술 및 방송통신기술의 발달에 따라 소비자는 복잡하고 다양한 서비스 환경을 접하고 있으며, 개인당 소비되는 콘텐츠의 양은 기하급수적으로 증가 되고 있다. 스마트폰과 같은 멀티미디어기기의 발전으로 기존의 단순 시청에서 벗어나 멀티미디어 검색과 추천과 같은 다양한 서비스들이 제공되고 있으며, 웹과 인터넷을 기반으로 하는 정보기술은 모바일 전자 기술의 발달에 따라 데스크톱이라는 공간적인 한계를 벗어나 유기적인 유비쿼터스 환경으로 변화하고 있다. 이와 같이 소비자들이 접하는 멀티미디어의 양이 증가됨에 따라, 멀티미디어를 검색하기 위한 다양 서비스들이 사업자들을 통해 제공되고 있다. 그러나 사업자들이 구축한 서버들은 공유되어지지 못하며, 공유되더라도 공유하기 위한 방법이 제각각이다. 이에 MPEG에서는 멀티미디어 콘텐츠를 검색하기 위한 질의 구조를 표준화 하여, 서비스 제공자 및 소비자들에게 유용한 검색 인터페이스를 제공하였다. 이에 본 논문에서는 MPEG Query Format에 기반 하여 임베디드 환경에서 광대한 양의 음악 콘텐츠에서 사용자가 원하는 허밍 질의를 편리하게 검색하기 위한 방법을 성계 및 구현한다.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.41 no.10
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• pp.1270-1275
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• 2016

Recently, the entertainment programs with vocal skills assessment through the broadcasting and cable broadcasting have become very popular. But, in spite of higher popularity, present performance evaluation methods including musical sympathy of the pop singers and plain performers in broadcastings are absolutely dependent on the subjective feelings of audience assessors who evaluate the musical sympathy in these programs. For solving this problem, quantitative methods instead of subjective methods in the entertainment industries for evaluating pop singer's performance and musical sympathy are taken as important issues and social demands. For this, in this paper, we propose a visual and quantitative evaluation method by applying ICT technologies that can be evaluated in all areas of musical sympathy as well as a singer's assessment.

• Journal of Broadcast Engineering
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• v.25 no.4
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• pp.518-527
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• 2020

360 VR technology is used not only in movies, but also in performing arts such as music, theater, dance, and so on due to the characteristics of immersion and presence. The technology allows the audience can be perceived a feel of participation in a story. This study is conducted an analysis of the techniques of 360 video shooting in order to find the answers of the following questionaries: how to make viewers enhance to a better understanding of a space, how to make the viewer feel comfortable ceding control of the experience, how to generate greater empathy with a 360 video. Thirty cases were analysed 360-degree videos of live performances performed on stage among 360-degree images of music performance content shared on Youtube from 2015 to 2020. The result shows that live performances are performed with the audience, so the stage shape and the layout of the audience seats are preferred to the characteristics of the performance. It was also shown that directing using a 360 VR camera was also greatly affected by the stage and audience placement. The stage is manly classified into three types, and the camera layout and characteristics mainly used are organized according to the number of 360 VR cameras, whether fixed or mobile cameras are used.

• Archives of design research
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• v.17 no.1
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• pp.265-276
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• 2004

User experience in web site is beyond Usability, and should be understood in a context. However, the concrete contextual factors of web site experience is not systematically established enough. Therefore, the objective of this research is to establish a framework of mapping experiential context factors with analyzing real web site use cases, and to propose how it is can be applied in the process of web site contents planning. First of all, theoretical framework for the web experience and contextual factors was prepared by secondary research. Second, user experience on music casting sites was collected through web diary method, self-video recording method, and group interview. Then, collected experience was re-constructed with scenarios. Scenarios are analyzed into contextual factors and these factors are categorized, given hierarchies and located into context map. Third, the possibility of applying the context map of web site experience was discussed. The systematical and concrete sample of context map based on practical use cases can be applied in the innovative and cross-genre web contents planning process.