• Journal of Broadcast Engineering
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• v.27 no.1
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• pp.3-12
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• 2022

Image deblurring aims to remove image blur, which can be generated while shooting the pictures by the movement of objects, camera shake, blurring of focus, and so forth. With the rise in popularity of smartphones, it is common to carry portable digital cameras daily, so image deblurring techniques have become more significant recently. Originally, image deblurring techniques have been studied using traditional optimization techniques. Then with the recent attention on deep learning, deblurring methods based on convolutional neural networks have been actively proposed. However, most of them have been developed while focusing on better performance. Therefore, it is not easy to use in real situations due to the speed of their algorithms. To tackle this problem, we propose a novel deep learning-based deblurring algorithm that can be operated in real-time on HD resolution. In addition, we improved the training and inference process and could increase the performance of our model without any significant effect on the speed and the speed without any significant effect on the performance. As a result, our algorithm achieves real-time performance by processing 33.74 frames per second at 1280×720 resolution. Furthermore, it shows excellent performance compared to its speed with a PSNR of 29.78 and SSIM of 0.9287 with the GoPro dataset.

• Journal of Broadcast Engineering
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• v.27 no.1
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• pp.56-68
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• 2022

In this paper, we propose a compression method for multi-resolution feature maps for VCM. The proposed compression method removes the redundancy between the channels and resolution levels of the multi-resolution feature map through PCA-based transformation. According to each characteristic, the basis vectors and mean vector used for transformation, and the transformation coefficient obtained through the transformation are compressed using a VVC-based coder and DeepCABAC. In order to evaluate performance of the proposed method, the object detection performance was measured for the OpenImageV6 and COCO 2017 validation set, and the BD-rate of MPEG-VCM anchor and feature map compression anchor proposed in this paper was compared using bpp and mAP. As a result of the experiment, the proposed method shows a 25.71% BD-rate performance improvement compared to feature map compression anchor in OpenImageV6. Furthermore, for large objects of the COCO 2017 validation set, the BD-rate performance is improved by up to 43.72% compared to the MPEG-VCM anchor.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2022.06a
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• pp.4-7
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• 2022

Recently, multi-view depth estimation methods using deep learning network for the 3D scene reconstruction have gained lots of attention. Multi-view video contents have various characteristics according to their camera composition, environment, and setting. It is important to understand these characteristics and apply the proper depth estimation methods for high-quality 3D reconstruction tasks. The camera setting represents the physical distance which is called baseline, between each camera viewpoint. Our proposed methods focus on deciding the appropriate depth estimation methodologies according to the characteristics of multi-view video contents. Some limitations were found from the empirical results when the existing multi-view depth estimation methods were applied to a divergent or large baseline dataset. Therefore, we verified the necessity of obtaining the proper number of source views and the application of the source view selection algorithm suitable for each dataset's capturing environment. In conclusion, when implementing a deep learning-based depth estimation network for 3D scene reconstruction, the results of this study can be used as a guideline for finding adaptive depth estimation methods.

• The Journal of the Korea Contents Association
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• v.11 no.7
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• pp.192-209
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• 2011

This study looked into coping strategies of local terrestrial broadcasting companies in the media market, since the introduction of comprehensive programming channels was confirmed. Local terrestrial broadcasting companies vulnerable to market competitiveness are driven more out to the difficulty of survival in a limited advertising market with the advent of comprehensive programming channel. and Local terrestrial broadcasting receive discriminative application than comprehensive programming channel. They have reverse discrimination in must-carry, broadcasting area, programming regulation, advertisement regulation, broadcasting development fund. Hence, Local terrestrial broadcasting needs diverse countermeasures at difficult media circumstances. Above all, Competitive content reinforcement is desperately needed. That's why content distribution structure needs diversification. And, It is necessary for local terrestrial broadcasting companies to diversify the content distribution system. As a way to expand distribution structure of local broadcasting, the introduction of local programming regulations for total amount will be highlighted in the nationwide network program. The mandatory policy that programs produced by local terrestrial broadcasting companies will be broadcast regularly in prime time through a nationwide network is an example. In addition to developing high content independently, 2nd Multiple channels of distribution is needed. It has to be supplied to various platforms including local broadcasting, SO and etc. In addition, it is necessary to activate regional co-production program between local terrestrial broadcasting companies and regions. Time rate between central stations and local terrestrial broadcasting companies must be distributed practically. And also, local terrestrial broadcasting companies in addition to ad revenue model to themselves and their own businesses by expanding the sponsorship to strengthen the competitiveness will have to nurture self-sustaining. Moreover they must have enlarge economy of scale through widen of broadcasting area.

• Archives of design research
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• v.15 no.4
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• pp.1-14
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• 2002

In the past, companies concentrated their efforts on developing new technologies and producing new products. But new technologies in this information age do not make difference any more comparing to other companies. In this marketing environment, a company must appeal strongly their own image to the customers' brains to make better difference than other companies do. One of the best way to make their own image in the customer's brains might be outgrowing themselves of the one-way communication such as the printed-media or broadcast-media and preparing some space such as advertisement halls or pavilions where customers and companies meet each other and make mutual communications between both of them. Therefore, we need to study systematically on the design elements in the advertisement halls or pavilions. To begin with, we should lully understand the basic idea by looking up the reference literature. We case-studied on the basic of constructive elements of advertise halls of both SAMSUNG and LG Electronics Co. The purpose of this study is to realize that we can transfer effectively the company's image to the customers only if we fully understand company's business philosophy and vision in advance to start design the advertisement hails. We should also realize that it is also important to manage systematically the company's design strategic elements' to achieve its changing goals in more logical and scientifically way.

• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.169-186
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• 2020

This study aims to examine the characteristics of news content and users' reactions in local broadcasting Youtube news' channel, and explore how the local media should response in the new online video environment. YouTube Open API sampled 3,950 news-related videos uploaded over a month on 31 YouTube news channels nationwide. The content analysis was performed on the basis of the analysis of individual videos, such as characteristics of each content and users' reactions. As a result, a few news channels have produced digital-only content, but the ratio has been very low, most were broadcast replay videos with titles and formats uploaded as they were. In some cases, it still operates as a comprehensive channel, which failed to show its expertise as an independent digital news platform. This shows that theses YouTube channels lacks differentiation from TV or its own web page, and is still skewed to the auxiliary role or online archive function of TV platform. Nevertheless, digital-only content, which can be a national issue based on regional expertise, has led to a higher number of views and users reactions, suggesting that is a realistic and effective strategy with expandability in online space in the future.

• Broadcasting and Media Magazine
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• v.10 no.1
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• pp.99-112
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• 2005

Christian Metz, the precursor of cine-semiology, considered cinema as a language in the sense that it is a set of messages grounded in a given matter of expression, and a signifying practice characterized by specific codifications. According to Metz, film forms a structured network produced by the interweaving of cinematic codes, within which cinematic subcodes represent specific usages of the particular code. For Metz, cinematic language is a totality of cinematic codes and subcodes, and history of the cinema is the trace of the competition, incorporations and exclusions of the subcodes. He also suggested a filmic text is not just a list of codes in effect, but a process of constant displacement and deformation of codes. Following Metz' textual analysis methodology, I investigated the formal configuration of Hayao Miyazaki‘s animation, Spirited Away. It is interesting to trace the interweaving of cinematic codes in Spirited Away, i.e. codes of lighting, color, movement, and auteurism, across the animation. I focused on the first scene at the bridge to Yubaba's bathhouse, analyzing each cinematic code and its subcode applied. The first bridge scene is carefully constructed to stand out the confrontation of Chihiro (with Haku) and the bathhouse. The bathhouse is not just a building, it represents the powerful witch, Yubaba, yet to appear on the scene, and functions as an antipode to Chihiro. In each shot, every subcode within the codes of framing, direction, angle, color, lighting and movement is used to maximize the contrast between the dominant bathhouse and the feeble 10-year-old girl. In Spirited Away, the subcodes within each cinematic ode are constantly competing and displacing each other to augment the antithesis between the characters and develop the narrative. As Metz's argument that film constitutes a quasi-linguistic practice as a pluricodic medium, Spirited Away communicates with the spectators with the combination and displacement of these cinematic codes and subcodes.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.81-89
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• 2018

The purpose of this study is to classify the types of internet personal game broadcasting in China and to examine viewers' preferences type of it. By targeting top 100 creators of Player-Unknown's Battleground streaming as a personal game broadcaster with over 100,000 followers, the game types were classified based on the purpose and characteristic of game broadcasting such as game play, entertainment, and audience participation. As a result, the type of internet personal game broadcasting in China was classified into progamer type, cooperative playing type, storytelling type, and reciprocal entertainment type. The progamer type was 38% and it was the highest proportion of Player-Unknown's Battlegrounds streaming. Next came storytelling type, cooperative playing type and reciprocal entertainment type with 25%, 19% and 18% respectively. In sum, progamer type and storytelling type which shows relatively low real - time communication with audiences accounted for a high percentage of 63%. This implies that the characteristics of the broadcast media focused on 'showing' have influenced the production and planning of personal game broad casting. The interactive characteristics of the platform of personal game broad casting can be expected to gradually change the conventional customs of broadcasting media.

• Asia Marketing Journal
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• v.16 no.4
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• pp.75-87
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• 2015

As more companies become interested in global markets, it has become crucial for firms to create globalized brands whose positioning, advertising strategy, personality, looks, and feel are consistent across nations. The purpose of this study is to investigate the global branding strategy of the Hyundai Motor Company (hereafter HMC) in order to show how the company processes its branding strategy. HMC, one of the leading global companies in the automobile industry, set up its brand identity as "Modern premium", in alignment with their new slogan "New Thinking New Possibilities", in 2011. The aim of the "Modern premium" concept was to provide consumers with new experiences and values beyond their expectations. HMC wanted their consumers to think of their cars as not only a medium of transportation but as a life space, where they can share experiences alongside HMC. In an effort to conduct consumer research in 5 different nations, HMC selected "brilliant" as a key communication concept. The word "brilliant" expresses the functional, experiential, and emotional dimensions of HMC. HMC furthermore chose "live brilliant" as a key campaign message in order to reinforce their communication concept. After this decision, the "live brilliant" campaign was exhibited through major broadcast channels around the world. The campaign was the company's first worldwide brand campaign, where a single message was applied to all major markets, with the goal of building up a consistent image as a global brand. This global branding strategy is worth examining due to its significant contribution to growth generation in the global market. Overall, the 'live brilliant' global brand campaign not only improved HMC's reputation image-wise, with the 'Modern Premium' conceptualization of the brand as 'simple', 'creative' and 'caring', but also improved the consumer's familiarity, preference and purchase intention of HMC. In fact, the "live brilliant" campaign was a successful campaign which increased HMC's brand value. Notably, HMC's brand value increased continuously and reached 9 billion US dollars in 2013, leading it to reach 43rd place in the Global Brand Rankings according to the brand consulting group Interbrand. Its brand value largely surpassed that of Nissan (65th) and Chevrolet (89th) in 2013. While it is true that the global branding strategy of HMC involved higher risks, it was highly successful according to cross-nation consumer research. Therefore, this paper concludes that the global branding strategy of HMC made a positive impact on its performance. We further suggest HMC to combine its successful marketing with social media such as Facebook, Twitter, and Instagram and embrace digital media by extending its brand communication horizon to the mobile internet

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.20 no.1
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• pp.61-67
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• 2020

The game has several genres. Actions, RPGs, FPS, and simulations are diverse, and the game that flows around the story is a game genre that feels like watching a movie on the other. Internet game broadcasters can be thought of as playing a movie in a movie theater when they broadcast a story-type game. The difference with the movie theater is that you can get involved in the story by showing your play directly to viewers. As a broadcasting material, story-type games are a good means, but the fact that the story is published on the Internet in terms of game publishers can have a negative impact on sales revenue as viewers can enjoy the story without purchasing the game. The purpose of this study is to analyze the coordination status between producers and internet broadcasters for story-type games that could be copyrighted and suggest ways to move forward.