• Journal of Broadcast Engineering
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• v.20 no.1
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• pp.26-39
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• 2015

UHD (Ultra High Definition) has been developed and standardized over the past few years and considered as a key of the next generation broadcasting. Since major sporting events that attract many viewers have been good opportunities for applying and promoting new broadcasting technology, KBS (Korean Broadcasting System) has carried out live 4K terrestrial broadcasting of three big sports events in 2014, the KBL (Korean Basketball League) finals, the 2014 FIFA World Cup, and the 2014 Incheon Asian Games. Especially, 4K UHD live coverage of the KBL finals was the world's first live 4K terrestrial broadcasting, and people could enjoy the World Cup and the Asian Games with UHDTV at home. In this paper, the overall live production and data transmission of the sporting events is described, including on-location live production, live HEVC (High Efficiency Video Coding) encoding, SFN (Single Frequency Network) transmission, as well as experimental IP transmission of uncompressed 4K video via KREONET, a national R&D network run by KISTI (Korea Institute of Science and Technology Information).

• Journal of The Korean Association For Science Education
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• v.37 no.1
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• pp.181-192
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• 2017

This study aims to examine the educational effects of the SSI program using Digital Storytelling (DST) approaches. Since DST provides students opportunities to express their own opinions in the form of stories and to share learning outcomes through the web, we developed and implemented SSI program by adopting the concept of DST in order to produce synergistic effects on student learning. Twenty-four 9th graders who enthusiastically engaged in the DST-based SSI program participated in this study. The students responded to focus group interviews after the instruction, and all interviews were transcribed for analysis. The results indicated that the students became aware of socio-ethical perspectives of each SSI topic while searching and collecting data by themselves. They also felt the necessity to consider multiple perspectives around the issues by having discussions with group members. Second, pre-producing DST allowed students to negotiate to settle on a group discussion, and to use emotional contents that can lead viewers to have sympathy. In addition, while producing DST, students considered various factors such as design, soundtrack, visual effects, and screen composition in order to express their opinions and convey their messages more effectively. In the stage of sharing DST outcomes and receiving feedback, they realized new perspectives that they did not perceive in the previous production process, and to move them into an action for resolving the problems caused by SSI. This study showed the potentials of DST-based SSI instruction as a good strategy to support students' SSI engagement.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.146-153
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• 2009

Thanks to computer graphic technology development, graphic design programming is easily accessible by any home computer user today since it is free from the burdens of complicated 알고리듬 or the expensive graphic tools that were required in the past. The term 알고리듬 2.5 is commonly used by computer graphic designers to refer to 2D, a form of pseudo-3D. In this study, by using 2.5D, which was previously utilized for strengthening visual effects and engine efficiency, together with Adobe Photoshop along with After Effects, I will incorporate these into motion graphics. Today, motion graphics dominate the advertisement and image markets. Since viewers have developed higher expectations, a more dynamic 3D space graphic technology is preferred over the outdated 2D basis. In this study, I will produce a 2.5D image which is generated through a vanishing point filter of Adobe Photoshop and After Effects based on still image information and captured at an angle of Axonometric Projection. Also, I will compare the effectiveness of the production process and camera angle flexibility between the previous 3D process and new 2.5 D process.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.400-409
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• 2009

The Broadcasting Law amended in January 2007 declared to adopt universal right to view(known more widely as Universal Access Right, UAR), the right to access broadcasting programs on such major sports or other events that are likely to catch the gaze of the public television viewers. Then its implementation rule was issued in February 2008, and under the regulations the Committee of Ensuring Universal Access Right has been established, where detailed action measures and guidelines are currently in the process of preparing. However, it is no question that an effectiveness of the implementation system of Universal Access Right presupposes sufficient amount of discussion and social consensus. At present, the major focus in this issue is on the matters including which type of events is subject to UAR and what criteria are desirable in determining which broadcasting company has priority. In this context, this study aims at identifying implications for policy by examining the precedent cases of Europe, Australia, and other countries, where UAR is enacted and implemented. Further, this study tries to draw up a specific scheme for ensuring universal right to view through conducting a survey on public television viewers. We will include specific guidelines for selecting events of public attention, criteria for selecting broadcasting companies regarding priority, and relevant operating rules regarding relayed broadcasting.

• Archives of design research
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• v.19 no.1 s.63
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• pp.141-150
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• 2006

The animation should be produced to attract the audience's interests. Its characters will have the intended personalities through the interactions with the audiences, discarding the attributes of the nature. These personalities form the brand identity when they are exposed visually and will be powerful brand assets which lead the animation industry to the high-value added products. The brand identity of the character, the brand assets, can be used for various products in form of licensing and is noted to make an affirmative leverage effect. In this regard, the author has conducted an empirical research on the animation characters from the viewpoint of the brand, adopting, in particular, the Brand Personality Scale (BPS), which is the output of J. Aaker's (1997) study on brand personality defined as the human properties in relation with the brand. In addition, this study determines the correlation among the animation, brand and consumers based on the Sirgy's study (1982) resulting in that the better the brand and the consumer's personality are matched, the more the brand attitude is improved. In consequence, it is found that the animation characters have three personality levels such as refinement/ability, integrity and interests. The consumer's personality is divided into the 'practical ego-image' and the 'ideal ego-image' in the survey, and the survey result shows that the brand personality of the animation character exists between them.

• Korean journal of communication and information
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• v.53
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• pp.53-72
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• 2011

has become the representative program of EBS after first airing in 2004. After seeing as a media text, this study was fulfilled on the basis of Bill Nichols' "Rhetoric" discussion, in order to analyze the structural method and social meaning of the program. As a result of the study, we were first able to see that was taking form as a documentary to make a constructive statement on current affairs related to Korean society, by mobilizing 'knowledge' related to these issues. Second, the "rhetoric" plays an important role in the program's process to generate meaning, and despite the text being relatively short, the rhetorical process undergone for the generation of meaning has been fully reflected. Moreover, the program was successfully structuring a new method of generating meaning by enthusiastically raising questions and choosing a unique method of vision mix. Third, by looking at the study's results in-depth, we can see that was creating a ideological place for open discussion, which was providing viewers with the satisfaction of overcoming our society's dominating ideology and forming new ones. In that sense, the easily accessible 'knowledge'that surrounds us holds somewhat of a political meaning. On top of that, it can be seen that the program especially, is a media text that holds a cultural political meaning, which is an important factor to consider in the Korean broadcasting industry. In conclusion, we found out that this program uses 'knowledge' to see the possibility of 'knowledge'journalism by making constructive statements through a 'rhetorical' process.

• Journal of Broadcast Engineering
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• v.18 no.1
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• pp.66-76
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• 2013

Although there has been much advance in the development of 3D displays of various purpose, 3D contents are not yet so used as expected in those displays. One well-known obstacle in the enjoyment of 3D contents is visual fatigue, but another major issue is image distortion of 3D contents. In the previous research, Shin, Li, & Kim (2012) reported systematic linear relationship between screen disparity and size perception of a simple object whose retinal size was constant across different disparities. In this research, we intended to generalize the previous finding by using various 3D stimuli in the test of the relationship between screen disparity and size perception of those stimuli. Consistent with previous findings, our data indicated that size perception linearly changes as a function of screen disparity and the linearity was observed in all stimuli types we used in this research. We described the empirical relationship between screen disparity and size perception in the form of prediction function for size perception in which visual angle is the predictor. This function will be very useful in the creation of 3D contents as one can make reasonable predictions on the to-be-perceived size of an object being filmed using screen disparity of their camera setting.

• Journal of Broadcast Engineering
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• v.21 no.6
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• pp.845-860
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• 2016

This paper proposes a digital watermarking scheme to protect the ownership of the freeview 2D or 3D image such that the viewer watches the image(s) by rendering a arbitrary viewpoint image(s) with the received texture image and its depth image. In this case a viewpoint change attack essentially occurs, even if it is not malicious. In addition some malicious attacks should be considered, which is to remove the embedded watermark information. In this paper, we generate a depth variation map (DVM) to find the locations less sensitive to the viewpoint change. For each LH subband after 3-level 2DDWT for the texture image, the watermarking locations are found by referring the DVM. The method to embed a watermark bit to a pixel uses a linear quantizer whose quantization step is determined according to the energy of the subband. To extract the watermark information, all the possible candidates are first extracted from the attacked image by considering the correlation to the original watermark information. For each bit position, the final extracted bit is determined by a statistical treatment with all the candidates corresponding that position. The proposed method is experimented with various test images for the various attacks and compared to the previous methods to show that the proposed one has excellent performance.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.494-506
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• 2013

Media like TV programs and movies has deeply rooted in the public and it can supply affluent informations on special tourist attractions during short time relatively. Media can make the image of special objects and destinations recreated and viewers induced to the special places. Because of these positive effects, many countries and self governing bodies having tried place marketing through media have done their best to raise the image of their tourist attractions and induce a visit. So, most of studies about the effect relations between media and tourist attractions have been done about the confirmation of the impact relation between media and the image raising of tourist attractions and between media and the tourists's visit inducement. This study reconfirms the results of the existing studies and confirms whether the difference of media program genre causes that of the impact relation between media and the image raising of tourist attractions and between media and the tourists's visit inducement. In order to confirm these purposes, 3 assumptions are established and are proved through statistical analyses based on a questionnaire. According to the results of these analyses, all of 3 established assumptions : assumption 1, the impact relation between media program genres and the image of tourist attraction, assumption 2, the impact relation between the image of tourist attractions and behavior intention, and assumption 3, the impact relation between media program genres and behavior intention, are partly accepted.

• Cartoon and Animation Studies
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• s.13
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• pp.45-65
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• 2008

The animation industries of Korea and China shares the effort for transition from work-for-hire Industry Into creative industry. In spite of similar industry background and characteristics, and the aggressive government policy to support this industry transition at the same point of time, the current status of animation industries in Korea and China are showing very different statistics as of the end of 2007. The production amount of Chinese original animation has grown rapidly since 2004, which has made China the top class country in the world in original animation production amount, and more than 600 million audience of Chinese TV animation has firmly established the Chinese domestic animation market basis. On the other hand, despite the Korean government support, original animation production of Korea has been showing a slow and sluggish growth, and Korean animations are losing the domestic market basis with only 1% TV ratings due to unfavourable Korean TV stations' programming practices against Korean animations. This different status of animation Industries of two countries are the result of different government policies and the fallacy of Korean government. While the Chinese government has focused its industry policy on the facilitating the domestic market by establishing the stable broadcasting TV distribution and encouraging the animation production through organic cooperation between related government agencies, Korean government spent lots of effort into facilitating the development of original animation projects, without cooperative structure In the government, and without sincere consideration on the importance of establishment of domestic market consumer basis.