• Journal of Broadcast Engineering
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• v.24 no.6
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• pp.1035-1052
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• 2019

Recently, as the demand for immersive videos increases, efficient video processing techniques for omnidirectional immersive video is actively developed by MPEG-I. While the omnidirectional video provides a larger degree of freedom for a free viewpoint, the size of the video increases significantly. Furthermore, in order to compress 6 degree-of-freedom (6 DoF) videos that support motion parallax, it is required to develop a codec to yield better coding efficiency. In this paper, we develop a 6 DoF codec using Versatile Video Coding (VVC) as the next generation video coding standard. To the authors' best knowledge, this is the first VVC-based 6 DoF video codec toward the future ISO/IEC 23090 Part 7 (Metadata for Immersive Media (Video)) MPEG-I standardization. The experiments were conducted on the seven test video sequences specified in Common Test Condition (CTC) in two operation modes of TMIV (Test Model for Immersive Media) software. It is demonstrated that the proposed codec improves coding performance around 33.8% BD-rate reduction in the MIV (Metadata for Immersive Video) mode and 30.2% BD-rate reduction in the MIV view mode as compared to the state-of-the-art TMIV reference software. We also show the performance comparisons using Immersive Video PSNR (IV-PSNR) and Mean Structural Similarity (MSSIM).

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.9 no.8
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• pp.3121-3135
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• 2015

Owing to the increase in consumption of multimedia content and the improvement of device capacity, user demand for high-quality content has increased. However, it is difficult to transport such large amounts of content over the existing broadcasting network with limited bandwidth. To provide high-definition broadcasting, some studies suggest methods of transporting multimedia over heterogeneous networks after encoding content hierarchically. MPEG Media Transport (MMT), standardized by Moving Picture Experts Group (MPEG), is a solution that enables large-volume media transport over heterogeneous networks such as digital broadcasting networks and packet-switched networks. In the case of delivering a scalable encoded video over different networks, synchronization of each stream is an important issue. MMT defines a synchronization scheme, but does not contain sufficient functions to implement it. In this paper, we propose a synchronization scheme for media streams that are encoded hierarchically, divided into layers, and transported over heterogeneous networks. We implement our scheme using MMT and HTTP, and experimented using three encapsulated video streams with different durations. As a result, we show that the proposed scheme can reduce the waiting time to display high-quality video, relative to Dynamic Adaptive Streaming over HTTP-Scalable Video Coding (DASH-SVC) by requesting segments of enhanced layers after calculating the transmission time. Additionally, we find out that the selection of durations have a relation to the characteristics of the video.

• ETRI Journal
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• v.36 no.2
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• pp.224-231
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• 2014

In this paper, a method to extract temperature effect information using the color temperatures of video scenes with mapping to temperature effects is proposed to author temperature effects of multiple sensorial media content automatically. An authoring tool to apply the proposed method is also introduced. The temperature effects generated by the proposed method are evaluated by a subjective test to measure the level of satisfaction. The mean opinion score results show that most of the test video sequences receive an average of approximately four points (in a five-point scale), indicating that test video sequences (with the temperature effects generated by the proposed method) enhance levels of satisfaction.

• Journal of the Korean Society for Library and Information Science
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• v.44 no.4
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• pp.95-114
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• 2010

Multimedia searching is an important activity on the Web, especially among the younger generation. The purpose of this study aims to examine college students’ multimedia information needs and searching on the Internet. While there is a clear pattern among students with respect to their multimedia uses, searching sources, relevance criteria and searching barriers, some differences exist especially according to searching of different multimedia types such as image, audio and video. For multimedia uses, information/data-focused uses are frequently found in image and video, while the use of audio is mainly for object-focused searches. As multimedia searching sources, audio and video files present a similar pattern of being high in media specific searching sources and low in generic search engines. Browsing through related blogs and homepages is an important part of searching for media files accounting for approximately 20% of total search for each media. The relevance criteria used by study participants when search for image files was primarily concerned with topicality while the contextual and media quality in the audio and video types are also considered important. Searching barriers for audio and video files are categorized into three broad aspects, including access and search quality, preview limitations and collection limitations, while obstacles for image files searching include access difficulties and low qualities of various collection.

• Journal of information and communication convergence engineering
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• v.21 no.1
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• pp.75-81
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• 2023

Video platforms, including YouTube, have a structure in which the number of video views is directly related to the publisher's profits. Therefore, video publishers induce viewers by using provocative titles and thumbnails to garner more views. The conventional technique used to limit such harmful videos has low detection accuracy and relies on follow-up measures based on user reports. To address these problems, this study proposes a technique to improve the accuracy of filtering harmful media using thumbnails, titles, and audio data from videos. This study analyzed these three pieces of multimodal information; if the number of harmful determinations was greater than the set threshold, the video was deemed to be harmful, and its upload was restricted. The experimental results showed that the proposed multimodal information extraction technique used for harmfulvideo filtering achieved a 9% better performance than YouTube's Restricted Mode with regard to detection accuracy and a 41% better performance than the YouTube automation system.

• The Journal of Sustainable Design and Educational Environment Research
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• v.10 no.3
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• pp.17-26
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• 2011

National efforts responding to climate change is directly connected to competitiveness of the urban environment. Practice in the daily life of the individual citizens is prerequisite for the paradigm shift that can be made by the reduction of the city's energy consumption and low-carbon green growth. Therefore, the comprehensive understanding combined with the educational programs is required on the issue of the ecological environment and the urban environment competitiveness. In this paper, the meaning and role of urban ecological environment will be researched first. it also takes a look at the content of curriculum and analyses domestic policies related to environmental education of primary and middle schools. In addition, video documentary on urban ecological environment will be analyzed for the development of educational media dealing with environmental training in schools. Consequently, urban ecological environment shown in video media content will be identified and the advantage of this possibility as a medium of education is to be proposed.

• ETRI Journal
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• v.44 no.1
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• pp.24-37
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• 2022

Virtual view synthesis, which generates novel views similar to the characteristics of actually acquired images, is an essential technical component for delivering an immersive video with realistic binocular disparity and smooth motion parallax. This is typically achieved in sequence by warping the given images to the designated viewing position, blending warped images, and filling the remaining holes. When considering 6DoF use cases with huge motion, the warping method in patch unit is more preferable than other conventional methods running in pixel unit. Regarding the prior case, the quality of synthesized image is highly relevant to the means of blending. Based on such aspect, we proposed a novel blending architecture that exploits the similarity of the directions of rays and the distribution of depth values. By further employing the proposed method, results showed that more enhanced view was synthesized compared with the well-designed synthesizers used within moving picture expert group (MPEG-I). Moreover, we explained the GPU-based implementation synthesizing and rendering views in the level of real time by considering the applicability for immersive video service.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2008.11a
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• pp.229-232
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• 2008

본 논문에서는 방송프로그램 저작권 식별관리를 위한 방송프로그램의 Video Signature와 국가표준콘텐츠식별 체계인 UCI(Universal & Ubiquitous Content Identifier)와의 연계 방안을 제시한다. Video Signature는 UCI와 같은 식별자의 인위적인 부여 과정이 없더라도 비디오 콘텐츠 자체에서 직접 특징정보를 추출할 수 있기 때문에, 이미 배포 유통된 콘텐츠에 대해서도 식별 확인이 가능하다. 따라서, 본 연구에서는 UCI 표준식별체계와 방송프로그램의 Video Signature와의 지속적인 연계를 위하여, 바이너리로 표현된 Video Signature가 포함된 UCI 응용 메타데이터를 정의한다. 그리고 UCI 표준식별체계 기반의 Video Signature 전송 및 관리 메카니즘에 기반한 방송프로그램의 저작권 식별관리 시나리오를 제시한다.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.167-202
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• 2014

When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960's and 1970's video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience's recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne's Hamlet and Lenea de Sombra's Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero's perspective. It is also noteworthy that Ostermeir understood Hamlet's dilemma as these days' young generation's propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator's perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne's Hamlet and Lenea de Sombra's Amarillo.

• Journal of Internet of Things and Convergence
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• v.6 no.2
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• pp.51-56
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• 2020

In this paper, we developed a mobile new media solution that enables e-commerce shopping mall operators, band operators, and YouTube creators to create synergies in online and offline promotion by posting related video contents on the media in addition to their own videos. By providing videos in the field of the platform without directly searching for them, it is possible to provide users with a new type of marketing means that can promote their platform while providing interest and information. Prospective creators at home and abroad who produce video can upload their own video in addition to YouTube and afreeca TV, such as the open market for video, and use independent and free charging systems to manage independent customer relationship management(CRM), self-branding, and content management. It will be possible to utilize mobile-based new media equipped with a system.