• 한국게임학회지
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• v.6 no.1
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• pp.70-72
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• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.

• Electronics and Telecommunications Trends
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• v.32 no.5
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• pp.20-29
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• 2017

In this paper, a video conferencing system, which has been attracting significant attention as an immersive telepresence service owing to the recent emergence of 5G networks, is described. We propose a service platform for Giga Media based video conferencing for 5G convergence services. The video conferencing service consists of a traditional structure that provides information exchange through the transmission of video and voice of remote participants using a Multipoint Control Unit (MCU), a browser-based video conferencing based on WebRTC, a multi-view point video conferencing, and holographic telepresence centered on mixed reality. The paper introduces the trends and detailed structures of various technologies used in the video conferencing system, and compares the video conferencing system technologies and video conferencing service characteristics for the integrated Giga Media platform.

• International Journal of Internet, Broadcasting and Communication
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• v.12 no.4
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• pp.42-47
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• 2020

YouTube, the online video streaming platform, has become popular and influential around the globe. Due to the development of science and technology, people without expertise in filming can now easily produce their videos with unique content. Many people are more eager to become a popular YouTube creator because they can earn money by placing commercials or Products in Placement (PPL) in their video clips. However, it is yet unknown what genres of YouTube videos are popular. YouTube creators have their channels where they upload videos of a certain type of genre. This study investigates video genres of the top 250 YouTube channels in English-speaking countries (United States, Canada, United Kingdom, and Australia) using Social Blade, which is a research website. The ranking is set based on the number of times people watched a video ("Video Views"). We handsomely analyze popular genres of the channels and also the YouTube ecosystem, and it will be meaningful for today's new media era.

• 한국정보디스플레이학회:학술대회논문집
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• 2007.08b
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• pp.1508-1511
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• 2007

This paper introduces a new texture prediction for MVC( Multi-view Video Coding) which is currently being developed as an extension of the ITU-T Recommendation H.264 | ISO/IEC International Standard ISO/IEC 14496-10 AVC (Advanced Video Coding) [1]. The MVC's prcimary target is 3D video compression for 3D display system, thus, key technology compared to 2D video compression is reducing inter-view correlation. It is noticed, however, that the current JMVM [2] does not effectively eliminate inter-view correlation so that there is still a room to improve coding efficiency. The proposed method utilizes similarity of interview residual signal and can provide an additional coding gain. It is claimed that up to 0.2dB PSNR gain with 1.4% bit-rate saving is obtained for three multi-view test sequences.

• Journal of KIISE
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• v.43 no.4
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• pp.470-479
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• 2016

As the number of various types of media data such as UCC (User Created Contents) increases, research is actively being carried out in many different fields so as to provide meaningful media services. Amidst these studies, a semantic web-based media classification approach has been proposed; however, it encounters some limitations in video classification because of its underlying ontology derived from meta-information such as video tag and title. In this paper, we define recognized objects in a video and activity that is composed of video objects in a shot, and introduce a reasoning approach based on description logic. We define sequential rules for a sequence of shots in a video and describe how to classify it. For processing the large amount of increasing media data, we utilize Spark streaming, and a distributed in-memory big data processing framework, and describe how to classify media data in parallel. To evaluate the efficiency of the proposed approach, we conducted an experiment using a large amount of media ontology extracted from Youtube videos.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.6 no.11
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• pp.2827-2848
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• 2012

Previously, we described a social media cloud computing service environment (SMCCSE). This SMCCSE supports the development of social networking services (SNSs) that include audio, image, and video formats. A social media cloud computing PaaS platform, a core component in a SMCCSE, processes large amounts of social media in a parallel and distributed manner for supporting a reliable SNS. Here, we propose a Hadoop-based multimedia system for image and video transcoding processing, necessary functions of our PaaS platform. Our system consists of two modules, including an image transcoding module and a video transcoding module. We also design and implement the system by using a MapReduce framework running on a Hadoop Distributed File System (HDFS) and the media processing libraries Xuggler and JAI. In this way, our system exponentially reduces the encoding time for transcoding large amounts of image and video files into specific formats depending on user-requested options (such as resolution, bit rate, and frame rate). In order to evaluate system performance, we measure the total image and video transcoding time for image and video data sets, respectively, under various experimental conditions. In addition, we compare the video transcoding performance of our cloud-based approach with that of the traditional frame-level parallel processing-based approach. Based on experiments performed on a 28-node cluster, the proposed Hadoop-based multimedia transcoding system delivers excellent speed and quality.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.14 no.7
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• pp.3018-3038
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• 2020

In the stereoscopic or multiview display, the depth video illustrates visual distances between objects and camera. To promote the computational efficiency of depth video encoder, we exploit the intra prediction of depth videos under Versatile Video Coding (VVC) and observe a diverse distribution of intra prediction modes with different coding unit sizes. We propose a hybrid scheme to further boost fast depth video coding. In the first stage, we adaptively predict the HADamard (HAD) costs of intra prediction modes and initialize a candidate list according to the HAD costs. Then, the candidate list is further improved by considering the probability distribution of candidate modes with different CU sizes. Finally, early termination of CU splitting is performed at each CU depth level based on the Bayesian theorem. Our proposed method is incorporated into VVC intra prediction for fast coding of depth videos. Experiments with 7 standard sequences and 4 Quantization parameters (Qps) validate the efficiency of our method.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.15 no.7
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• pp.2513-2530
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• 2021

With the fast development of information and communication technologies, video streaming services and applications are increasing rapidly. However, the network condition is volatile. In order to provide users with better quality of service, it is necessary to develop an accurate and low-complexity model for Quality of Experience (QoE) prediction of time-varying video. Memory effects refer to the psychological influence factor of historical experience, which can be taken into account to improve the accuracy of QoE evaluation. In this paper, we design subjective experiments to explore the impact of Short-Term Memory (STM) on QoE. The experimental results show that the user's real-time QoE is influenced by the duration of previous viewing experience and the expectations generated by STM. Furthermore, we propose analytical models to determine the relationship between intrinsic video quality, expectation and real-time QoE. The proposed models have better performance for real-time QoE prediction when the video is transmitted in a fluctuate network. The models are capable of providing more accurate guidance for improving the quality of video streaming services.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2021.10a
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• pp.281-283
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• 2021

The representative companies mentioned in the recommendation service in the domestic OTT(Over-the-top media service) market are YouTube and Netflix. YouTube, through various methods, started personalized recommendations in earnest by introducing an algorithm to machine learning that records and uses users' viewing time from 2016. Netflix categorizes users by collecting information such as the user's selected video, viewing time zone, and video viewing device, and groups people with similar viewing patterns into the same group. It records and uses the information collected from the user and the tag information attached to the video. In this paper, we propose a method to improve video media recommendation by automatically generating metadata of video media that was written by hand.

• Journal of information and communication convergence engineering
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• v.20 no.3
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• pp.189-194
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• 2022

As non-face-to-face activities have become commonplace, online video conferencing platforms have become popular collaboration tools. However, existing video conferencing platforms have a structure in which one side unilaterally exchanges information, potentially increase the fatigue of meeting participants. In this study, we designed a video conferencing platform utilizing virtual reality (VR), a metaverse technology, to enable various interactions. A virtual conferencing space and realistic VR video conferencing content authoring tool support system were designed using Meta's Oculus Quest 2 hardware, the Unity engine, and 3D Max software. With the Photon software development kit, voice recognition was designed to perform automatic text translation with the Watson application programming interface, allowing the online video conferencing participants to communicate smoothly even if using different languages. It is expected that the proposed video conferencing platform will enable conference participants to interact and improve their work efficiency.