• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2022.05a
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• pp.235-237
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• 2022

Video content is divided into long-form video content and short-form video content according to the length. Long form video content is created with a length of 15 minutes or longer, and all frames of the captured video are included without editing. Short-form video content can be edited to a shorter length from 1 minute to 15 minutes, and only some frames from the frames of the captured video. Due to the recent growth of the single-person broadcasting market, the demand for short-form video content to increase viewers is increasing. Therefore, there is a need for research on content editing technology for editing and generating short-form video content. This study studies the technology to create short-form videos of main scenes by capturing images, voices, and motions. Short-form videos of key scenes use a pre-trained highlight extraction model through machine learning. An automatic video editing system and method for automatically generating a highlight video is a core technology of short-form video content. Machine learning-based automatic video editing method and system research will contribute to competitive content activities by reducing the effort and cost and time invested by single creators for video editing

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.1
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• pp.200-216
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• 2021

This article considers short-form fashion videos as distinguished from fashion films, defines the concept, details the expressive characteristics of short-form fashion video, and reveals the method of producing it. For the methodology, a literature review was conducted to derive the concept and expression techniques. A case study was also performed to define the expressive characteristics. Five short-form fashion videos were also produced based on the results. The final results are as follows. First, short-form fashion video was defined as a fashion medium on the purpose of fashion communication within 60 seconds and classified by three digital image formats. Second, the result of analyzing the expression of the short-form fashion video shows the simplicity and reconstitution, characterization and remediation, borderless and expansion, and synesthesia trigger of the fashion image. Third, five short-form fashion videos were produced based on the theme of the digital garden. It shows that the short-form fashion video intensively expresses the content as a medium whose sensational expression is more prominent than the composition of the story by the short running time that reflects the taste of digital mainstream.

• Fashion & Textile Research Journal
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• v.25 no.6
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• pp.690-703
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• 2023

With the emergence of digitalization and environmental changes, such as those caused by COVID-19 and high-speed networks, online video platforms have changed how people communicate and created new marketing opportunities. The unique characteristics of mobile short-form videos are causing more people to consume and produce diverse content in the digital environment. The study focuses on two story types (product essential and relative information) to examine the effectiveness of short-form videos for fashion marketing. This study verified the influence of the common traits of short-form video content (informativeness, expertise, familiarity, and playfulness) on fun, e-WOM, and purchase intention and the mediation effect of fun using video samples categorized by story type. In this study, 300 Gen Z men and women responded to a survey after watching a 30-second short-form video sample. All the traits of short-form video content were found to have a positive effect on fun. Moreover, all the traits excluding playfulness had a positive effect on e-WOM and purchase intention as well. Fun had a positive effect on both e-WOM and purchase intention as well as a partial mediating effect. These findings are expected to provide insight and reference for planning short-form video marketing from the perspective of the fashion industry.

• International Journal of Computer Science & Network Security
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• v.23 no.3
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• pp.81-93
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• 2023

The popularity of short-form video platforms like TikTok has increased recently. Short-form videos are significantly shorter than traditional videos, and viewers regularly switch between different types of content to watch. Therefore, a successful prefetching strategy is essential for this novel type of video. This study provides a resource-effective prefetching technique for streaming short-form videos. The suggested solution dynamically adjusts the quantity of prefetched video data based on user viewing habits and network traffic conditions. The results of the experiments demonstrate that, in comparison to baseline approaches, our method may reduce data waste by 21% to 83%, start-up latency by 50% to 99%, and the total time of Re-buffering by 90% to 99%.

• International Journal of Contents
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• v.18 no.1
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• pp.27-39
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• 2022

Short videos are becoming more popular in mobile Internet age. Not only people's media consumption patterns have been changed by the rise of this new media form, but also it has posed challenges to public psychological well-being. For many netizens, their entertainment needs have been met by watching short videos. However, many side effects, such as addiction and anxiety, reduce users' subjective well-being instead of satisfying the entertainment motivation after watching short videos. Therefore, it has become a significant research problem in short videos to figure out how to get audiences to watch short videos on a regular basis while avoiding side effects like anxiety and addiction and improving audiences' subjective well-being. Based on the theory of Internet addiction, this study analyzed short video users using the 2×2×2 research method and explored the relationship between the length of use, addiction, anxiety, and subjective well-being of short video users. The results showed that short video users with different usage lengths showed significant differences in addiction, anxiety, subjective well-being, and online social support; innovative different short video users showed significant differences in addiction and anxiety, as well as a triadic relational interaction of short video users' anxiety under the interaction with self-efficacy and online social support. This study contributes to the advancement of internet addiction theory research and application, assisting short video users in avoiding addiction and anxiety, and improving the subjective well-being of short video users, thereby promoting the growth of the short video industry.

• International journal of advanced smart convergence
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• v.10 no.4
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• pp.273-277
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• 2021

As society gradually enters a virtual, non-face-to-face society, the use of online content is increasing as well. In particular, as smartphones are thoroughly established in our daily life, the platforms of webtoons, mobile broadcasting, and education are shifting from personal computers to smartphones. Recently, the development of the Over-The-Top media service (OTT service) enabled streaming services of various media contents through the internet and activation of IPTV. Therefore, the rapid increase of popularity of short-form content is a natural phenomenon with smartphone platforms with fast, improvised, and endless communication. Lately, TikTok became the favored platform with prosumers, defined as people who are both producers and consumers. In this study, I studied the experiential response of YouTube and TikTok users as representative examples of a short-form content platform developed after the 2000s, the flourishing years of digital content with a length of 30 seconds.

• Cartoon and Animation Studies
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• s.38
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• pp.29-51
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• 2015

With the progress in high speed internet networks, mobile devices and social networking, the eco-system of the media has shifted from that where the flow of content was one-way from the producer to the consumer. A so-called 'prosumer' culture has taken root where the consumer himself produces media content. Along with these trends, various video-sharing platforms such as youtube has a method of allocating advertisement profit to the content producer, offering a win-win platform for content pro-sumers. This allows the channels to attract several tens of millions of subscribers and raise an annual income of over 10 billion Won, marking a revolutionary change in the content industry. This paper seeks to analyze video distribution channels and short-form media content that are showing continuous growth to identify new markets where animated content can make progress in an era of online video media platforms, as well as provide a future direction for small teams of creators of animated films to survive and thrive in this environment.

• Informatization Policy
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• v.29 no.3
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• pp.82-104
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• 2022

One of the interesting social phenomena in short-form video platforms is the hashtag challenge wherein ordinary users are encouraged to create by imitating short viral videos on a particular theme. Despite the increasing popularity of hashtag challenges, theoretical discussion on related user behavior is still very insufficient. In this study, we attempted to examine the impact of micro-influencers in order to understand users' willingness to participate in hashtag challenges. For this purpose, the para-social interaction theory and imitation behavior literature were adopted as key theoretical basis. In an empirical investigation using 243 survey data from TikTok users, our study found that a user's illusion of intimacy with a micro-influencer (i.e., para-social interaction) had significant positive impact on the intention to participate in a hashtag challenge. This study also showed that the degree of para-social interaction in a short-form video platform was determined by both media content-related factors and media character-related factors (i.e., content attractiveness, physical attractiveness, and attitude homophily). Our work in this study provided significant theoretical and practical implications on how to leverage micro-influencers for the success of hashtag challenges in a short-form video platform.

• International Journal of Contents
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• v.17 no.4
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• pp.101-118
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• 2021

The prevalence of We-Media short videos has attracted emerging independent fashion designers (EIFD), a new force in the fashion industry directing their brand promotion to We-Media for amassing online followers. However, compared to famous content generators, EIFDs' creative, design-based visual appeal has not provided them with the significant edge. The former's success is admittedly supported by the platform backstage algorithm. Yet, the content is the cornerstone for building relationship between the sender and the reception. The authentic perception of the content is one of the basic appeals for which the audience chooses to follow the source. Therefore, with the EIFD short video as the research content, this study is established from the audience's perspective to understand the different dimensions of their authentic perceptions of EIFDs short video. The study was conducted mainly in the form of the Q method. The collection of 52 Q samples were realized through the Focus Group Interview and literature review on multidimensional authenticity. Thirty-six subjects participated in the sorting of the Q-sets. Finally, four dimensions of audience authenticity perceptions of EIFDs were derived: 'ingenuity', 'relevant', 'transparent', and 'experiential'. The corresponding short video content design strategies are suggested for effective communication of EIFDs and their personal brands.

• Trans-
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• v.13
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• pp.59-90
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• 2022

Short-form content, which means "short video content within 10 minutes," is rapidly emerging as a recent trend among MZ generations based on the fact that it can be viewed whenever there is a short running time, and they are physically short, colorful, and deliver a lot of information in a compressed time, showing differences in both long-form content and format. In addition, entertainment videos such as information delivery videos, eating shows, web entertainment, and dance challenges are mainly produced and distributed, so there is no need to take expertise as a creative work of video experts, and consumers often become producers by directly participating in production using low-end equipment such as smartphones. For these reasons, shortform content creates new image styles rather than general existing image forms such as long-form contents, and this study focuses on changes in editing styles. This study summarized the following five characteristic changes by analyzing the editing style of short form content that has changed compared to long form content according to the 'visual' aspect. The use of frames, memes, screen division, blue screen, and subtitles are included, and by organizing each characteristic, we identified the editing style of shortform content that has emerged as a recent trend and learned about the changes.