• The Journal of the Korea Contents Association
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• v.20 no.11
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• pp.38-48
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• 2020

The domestic AI speaker market is growing into a full-fledged early audience market beyond the innovative consumer market with 3 million domestic supply units at the end of 2018, but the reality is that for various reasons, we are not satisfied with the use. There are many previous papers on AI Speaker, but the majority of research so far tends to be biased towards the acceptance of the device's own performance. Many changes are being made, such as OTT providers trying to secure the market through collaboration with AI speaker providers. This study tried to identify the priorities for content services, which can be another major selection factor for AI speakers, excluding the factors of unsatisfactory technology. First, this study identified the priorities among AI speaker selection factors using AHP (Analytic Hierarchy Process), based on the AI speaker selection factors derived through literature research. The most important hierarchical factor are Concierge Service, Education Service, and Entertainment Service order in AI speaker selection, and the primary content among the individual factors was the one that ranked weather/temperature/fine dust (11.6%) and child caring content was in the second place (10.8%), and then music service was in the third place (9.8%). The three top priorities were derived from the items in the top tier 1, 2 and 3 priorities. Of the total 15 individual services, 6 sub-layers of Concierge Service (weather/temperature/fine dust, news, voice schedule notification) and Education Service (foreign language, toddler, reading books) were in the top 8, and two of the Entertainment Service Music service and movie service ranked third and sixth.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.13 no.5
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• pp.2544-2557
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• 2019

Adaptive bitrate streaming is a crucial element in the implementation of high-quality streaming of media content over the Internet. Dynamic adaptive streaming over HTTP (MPEG-DASH) has lately emerged as the de facto solution for over-the-top (OTT) video streaming services. In this paper, we perform macro-level analysis on a real-world MPEG-DASH-based Internet live broadcasting service to gain insight into its behavior throughout the end-to-end service-provision chain, from broadcasters to viewers. Based on this analysis, we propose methods to improve the quality-of-experience (QoE) of MPEG-DASH-based services, particularly with regard to reducing broadcasting delays between recording and viewing of videos, as well as synchronizing client terminals.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.225-230
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• 2023

With the development of AI technology, there is a growing discussion about Text-to-Image Generative AI. We presented a Generative AI video production method and delineated a methodology for the production of personalized AI-generated videos with the objective of broadening the landscape of the video domain. And we meticulously examined the procedural steps involved in AI-driven video production and directly implemented a video creation approach utilizing the VQGAN-CLIP model. The outcomes produced by the VQGAN-CLIP model exhibited a relatively moderate resolution and frame rate, and predominantly manifested as abstract images. Such characteristics indicated potential applicability in OTT-based video content or the realm of visual arts. It is anticipated that AI-driven video production techniques will see heightened utilization in forthcoming endeavors.

• Journal of Information Technology Applications and Management
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• v.30 no.5
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• pp.141-158
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• 2023

In the field of animation, as technology advances, production technology, production methods, and production culture are also steadily developing. The demand for content is increasing rapidly around the OTT platform, and the demand for animation content and diversity is increasing. With these market changes, animation creation ability is becoming a more important animation education goal. There is also a need to innovate educational methods to provide students with the skills and knowledge required in the modern animation business. This paper investigated the composition of the educational curriculum of domestic and foreign animation universities education. It examines artificial intelligence (AI) technology that can be used in animation creation and explores the design and direction of the university animation curriculum using it. AI technology has already proven its potential in various areas, and it is integrated into the animation curriculum to present various development potentials. Using AI technology, students can focus on practical and essential animation education by preventing technical difficulties in animation creation, increase their experience in animation production, and experiment with planning and producing various contents. It is proposed to design an educational curriculum that further strengthens animation creation and production capabilities by forming smart animation classes to foster talents who can lead the future animation industry in a new direction.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.23 no.2
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• pp.175-183
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• 2023

In a broadcasting market environment that has a close interdependence between platform operators and content operators, problems such as conflicts over program usage fees, and home shopping transmission fees are intensifying. This study attempted to analyze the environment of the domestic broadcasting market and present implications, analyze the cause of user fee conflict between the platform and PP, and propose detailed alternatives to resolve user fee conflict disputes. The results of environmental analysis on the domestic broadcasting market are as follows. First, the growth engine of the broadcasting industry has changed to direct resources such as service usage fees and content fees, and commerce is increasing. Second, as hegemony in the domestic broadcasting market changes from terrestrial to paid broadcasting and OTT, monopolies in the entire broadcasting area are being dismantled by voluntary entry. Third, the need to overhaul the existing regulatory system is increasing due to the dismantling and reorganization of the existing broadcasting market. On the other hand, this study proposed a strategy to diversify the profit structure of PP, supply program after pre-contracting, and strengthen CPS bargaining power in order to resolve disputes between paid broadcasting platforms and PP sharply. In particular, as strategies to strengthen CPS bargaining power of small and medium-sized SOs, it proposed to jointly improve CPS-related systems through IPTV and individual SOs, to redefine fees for programs and to voluntarily use programs.

• Journal of the Institute of Convergence Signal Processing
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• v.24 no.1
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• pp.42-50
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• 2023

The development of technology has achieved digital innovation throughout the media industry, including production techniques and editing technologies, and has brought diversity in the form of consumer viewing through the OTT service and streaming era. The convergence of big data and deep learning networks automatically generated text in format such as news articles, novels, and scripts, but there were insufficient studies that reflected the author's intention and generated story with contextually smooth. In this paper, we describe the flow of pictures in the storyboard with image caption generation techniques, and the automatic generation of story-tailored scenarios through language models. Image caption using CNN and Attention Mechanism, we generate sentences describing pictures on the storyboard, and input the generated sentences into the artificial intelligence natural language processing model KoGPT-2 in order to automatically generate scenarios that meet the planning intention. Through this paper, the author's intention and story customized scenarios are created in large quantities to alleviate the pain of content creation, and artificial intelligence participates in the overall process of digital content production to activate media intelligence.

• Journal of Digital Convergence
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• v.17 no.11
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• pp.523-530
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• 2019

This study examines how global fandom for Korean dramas is formed and maintained by examining the reason and purpose of voluntarily making the subtitles of Korean drama through in-depth email interviews with foreign subtitle producers(fan subber) working on a video site called Viki.com. The research focused on Viki's fan community, which has grown into the most influential Korean Wave platform. Collective intelligence expresses in the fan community produces more than professional results and they are acting as consumers, cultural producers, and second creators of K-content. In order to continue the spread of K-content, it needs to pay more attention to the long-term strategy of global fandom combined with the fan community activities of the new media platform and network effects.

• Journal of Broadcast Engineering
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• v.28 no.2
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• pp.185-193
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• 2023

As many different over-the-top (OTT) services become ubiquitous, demands for high-quality content are increasing. However, high dynamic range (HDR) contents, which can provide more realistic scenes, are still insufficient. In this regard, we propose a new HDR video reconstruction technique using multi-exposure low dynamic range (LDR) videos. First, we align a reference and its neighboring frames to compensate for motions between them. In the alignment stage, we perform content-based alignment to improve accuracy, and we also present a high-resolution (HR) module to enhance details. Then, we merge the aligned features to generate a final HDR frame. Experimental results demonstrate that our method outperforms existing methods.

• International Journal of Internet, Broadcasting and Communication
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• v.14 no.3
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• pp.40-50
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• 2022

The purpose of this study is to prove the global OTT, Netflix's organizational resilience (OR). For this, we review previous literatures regarding Netflix's OR and the theoretical logic of the OR. Then, we investigate Netflix's organizational culture (OC), corporate structure and business strategies based on the five levers of the OR. As a result, the first lever, the coordination makes Netflix to get rid of the inner wall by creating Netflix terms like 'sunshining,' and 'postmortem,' which makes their employees extraordinarily candid with each other. The second lever, the cooperation provides employees with understanding customers by sharing company and service information openly and broadly through transparent board system, billboard advertising, etc. The third lever, the clout allows Netflix to encourage independent decision-making by their employees. Netflix customers are under scrutiny and served 24/7 via live chat or phone by supporting a high-performance workplace. The fourth lever, the capabilities are related to Netflix's keeping highly effective people and it establishes a culture of highly motivated employees. The "dream team" policy is run by what is known as the "keeper test." The last lever, the connections make Netflix to forge external strategic partnership to stay agile. There is no rule for partnering with key content producers by allowing creative freedom to them.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.658-675
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• 2022

With the advent of the OTT platform, the world has become an era in which the same media content is shared and reacted in real time by being grouped into one culture. This study attempts a producer study of web novel writers, who are producers of the web novel market that is expanding into webtoons, dramas, and movies with IP (intellectual property rights) of the original story at a time when Korean K-content such as "Squid Game" and "Weird Lawyer Woo Young-woo" leads the global market. In this study, web novel writers were viewed as producers of commercial media content, not just 'Novelist', and their identities and characteristics of the labor process were examined. Web novel writers began writing web novels as a side job or two jobs, and cited the fact that they can make profits alone without barriers to entry and without incurring capital or facility costs. Although there is no barrier to entry, most writers experience severe failure in their first work, which is attributed to the misunderstanding that the word "writer" is someone who writes what they want in any genre. Web novels are different, so writers go through the process of realizing that in order to succeed by writing web novels, they must be thoroughly in the audience's shoes and write them according to the trends and codes they want. Web novel writers expressed their identity as "story sellers," "story producers," "people who can produce IP alone," and "people who satisfy fantasies that cannot be achieved in reality," and in common, there was a strong sense of being a person who provides stories and makes profits or sales. Regarding the burden of writing a huge amount of web novels, the writer with a high income expressed a generous position that "the income is higher than the effort," but ordinary writers complained of difficulties in the hard work, saying, "It seems like I am working hard on writing that I have to write constantly.