• International Journal of Contents
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• v.16 no.4
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• pp.68-77
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• 2020

VR (Virtual Reality) contents make the audience perceive virtual space as real through the virtual Z axis which creates a space that could not be created in 2D due to the space between the eyes of the audience. This visual change has led to the need for technological changes to sound and sound sources inserted into VR contents. However, studies to increase immersion in VR contents are still more focused on scientific and visual fields. This is because composing and producing VR sounds require professional views in two areas: sound-based engineering and computer-based interactive sound engineering. Sound-based engineering is difficult to reflect changes in user interaction or time and space by directing the sound effects, script sound, and background music according to the storyboard organized by the director. However, it has the advantage of producing the sound effects, script sound, and background music in one track and not having to go through the coding phase. Computer-based interactive sound engineering, on the other hand, is produced in different files, including the sound effects, script sound, and background music. It can increase immersion by reflecting user interaction or time and space, but it can also suffer from noise cancelling and sound collisions. Therefore in this study, the following methods were devised and utilized to produce sound for VR contents called "A Midsummer Night" so as to take advantage of each sound-making technology. First, the storyboard is analyzed according to the user's interaction. It is to analyze sound effects, script sound, and background music which is required according to user interaction. Second, the sounds are classified and analyzed as 'simultaneous sound' and 'individual sound'. Thirdly, work on interaction coding for sound effects, script sound, and background music that were produced from the simultaneous sound and individual time sound categories is done. Then, the contents are completed by applying the sound to the video. By going through the process, sound quality inhibitors such as noise cancelling can be removed while allowing sound production that fits to user interaction and time and space.

• International journal of advanced smart convergence
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• v.11 no.2
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• pp.88-94
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• 2022

The relationship between sound and vision was experimentally confirmed by physicist Ernst Florens Friedrich Chladni as early as the 18th century and formally entered into systematic research. With the development of emerging media technology, sound reactive type visual content is not limited to a single visual interaction based on the vibration of sound, and its visual content shows a diversified and scalable development trend according to different purposes in many fields. This study analyzes the development and changes of sound visual art contents from early stage to modernization, and analyzes the development characteristic of sound visual art content in different fields and scene environments influence by interactive media, new media technologies and devices by means of case analysis. Through this research, it is expected that the sound reactive type visual art content can continue to develop and extend in the existing fields, while explore the scalability of the application of sound reactive type visual art content in more fields.

• Journal of Korea Game Society
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• v.2 no.2
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• pp.72-77
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• 2002

Sound contents of these days are in the trend of 3D surround audio which has much higher quality then CD audio with the aid of DVD, Development environments of sound contents should be advanced and the efficient application of this system is quite necessary. In this paper, we proposed an improving method for utilizing sound/audio card systems which are necessory for developing game and multimedia sound contents as well as relate know-hows of producing 3D sounds with sound production tools for their efficient usages and applications.

• Journal of Digital Contents Society
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• v.9 no.2
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• pp.203-211
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• 2008

Due to the advance of H/W and S/W techniques to play 3D sound, the virtual space contented by 3D graphics and sounds can provide users more improved realities and vividness. However for the small 3D contents developers and companies, it is hard to implement 3D sound techniques because the implementation requires expensive sound engines, 3D sound technical understanding and 3D sound programming skills. Therefore 3D-sound-playing-interface is necessary to easy and cost-effective 3D sound implementation. Using this interface, graphics experts can easily add 3D sound techniques to their applications. In this paper, the followings are designed and implemented as a preliminary stage in the way of developing the 3D sound playing interface. First, we develop 3D sound S/W modules converting mono to 3D sound in PC based systems. Second, we develop the interconnection modules to map 3D graphic objects and sound sources. The developed modules in this paper can allow the user to percept sound source position and surround effect at the moving positions in the virtual world. In the coming works, we are going to develop the more completed 3D sound playing interface consisted of the synchronization technique for sound and moving objects, and HRTF.

• Journal of Digital Convergence
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• v.11 no.11
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• pp.381-387
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• 2013

Recently, emotional contents that induce emotions and respond to emotions are given attention in the field of cultural industries, and extracting emotion caused by multimedia contents is being noted. Furthermore, since multimedia contents have been quickly produced and distributed these days, researches automatically to extract the feeling of multimedia contents are being accelerated. In this paper, we will study the method of emotional value extraction in the multimedia contents using the volume value of the multimedia contents in a certain frequency among sound informations. This study allows to extract the emotion of multimedia contents automatically, and the extracted information will be used to provide user's current emotion, weather, etc. for the users.

• The Journal of the Acoustical Society of Korea
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• v.39 no.5
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• pp.424-434
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• 2020

This paper describes an algorithm that calculates Absolute Sound Level (ASL) for contents platform. ASL is a single volume representing individual sound sources and is a concept designed to integrate and utilize the sound level units in digital sound source and physical domain from a speaker in practical areas. For this concept to be used in content platforms and others, it is necessary to automatically derive the ASL without having to go through a hearing of mastering engineers. The key parameters of which a person recognizes the representative sound level of an individual single sound source are the areas of "frequency, maximum energy, energy variation coefficient, and perceived energy distribution," and the ASL was calculated through the normalizing of the weights.

• The Journal of the Korea Contents Association
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• v.2 no.1
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• pp.32-38
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• 2002

In the AV system, stereophonic system has been studied to produce a realistic sound effect. The width of stereo AV system speakers is narrow, to have the spatial impression of sound effect, widening the sound image is necessary. The direction of sound image depends on the phase delay and the sound pressure level difference between two channels. In this paper, we analyze the relationship between the phase delay and the direction of the sound image relating to the frequency of sound source. Also we experimented to directionally localize the sound image of the pure tone with shifting phases and controling sound pressure love between two channels when the sound is reproduced by two speakers to make a spatial impression of sound effect.

• The Journal of the Korea Contents Association
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• v.1 no.1
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• pp.24-31
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• 2001

In The AV system, to produce a realistic sound effect is very difficult because the distance between stereo speakers is very narrow. Many signal processing method of widening the sound image for spatial impression have been studied. Most of the typical methods of widening the sound image are related to the phase shifting. but this method was not effective in the concrete wall structure with high reflectivity. In this paper, we proposed an effective method of extending stereo sound image using Precedence Effect and reflected sound. In experiments we confirmed the usefulness of the method for extending stereo sound image of a conventional AV system in wider listening area of a room.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2000.06a
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• pp.1735-1740
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• 2000

The aim of this study is to analyze the sound insulation performance of windows depending on the sound source types and to propose the noise control method in the apartment house. The regions where apartment houses are constructed are varied in the dominant noise sources such as aircraft noise, railway noise and road traffic noise. For the experiment, nine noise sources including pink noise were selected and recorded, which was used in the experiment by reproducing. As a result of this study, the sound insulation performance of window was found that when the frequency contents of the noise were high level in all frequency bands the difference of sound insulation performance was negligible, but when the frequency contents were low level at particular frequency band the difference of sound insulation performance was shown very differently.

• The Journal of the Korea Contents Association
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• v.14 no.5
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• pp.18-29
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• 2014

was somewhat of a turning point for Godard, allowing the Novelle Vague auteur to address for the first time the current political climate of the world in one of his film, and this film is a film of constant questioning and is, in the truest sense, a 'talking film'. In this paper, I attempt to analyse the sound of this film to interpret the complicated sound structure in . Godard was aware of the power of sound and experimented diverse methods such as 'direct sound', interviewing using the effect of on-sound and off-sound, multiple narration, reading a text aloud, sound effect and music which are controled and selected by himself in this film. , with its largely improvised dialogue, was a work of journalism which was recorded a generation of Marx Coca-Cola.