• Journal of information and communication convergence engineering
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• v.9 no.1
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• pp.110-116
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• 2011

The production environment of fast and accurate news video has been continuously changing together with technology advance. Especially, the editing of the news video advanced focusing on the non-linear system by the introduction of digital technology and the recording of news video advanced to 'tapeless' base. In this new news video production environment, the recorded news videos are transmitted, edited and archived through the NPS (Network Production System), which dramatically improves the efficiency of the news video production. However, there are some issues which need to be resolved in the introduction of NPS. The purpose of this research is to identify the necessity of NPS introduction in the changing news video production environment, explore the issues which should be resolved and suggest the proper way to introduce the NPS to broadcasting companies.

• Journal of Korea Society of Digital Industry and Information Management
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• v.9 no.4
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• pp.167-175
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• 2013

This study is the process of making high-definition TV broadcast color correction affects the end result comparison is focus on implement through study. In the production process and the impact on the color Correction in the video as an study for UHD, 4K, 6K video production workflow improvement of an effective program in the present and time and cost in the post production process, color correction for the final video through the production and overcome the failure of further in-efficient color correction study will help you to solve the problem. This study is the color changes over the course of the final video to see how much influence color correction of post-production. Color correction using a program of courses in Visual quality, regularly presented the possibility to retain and make on high definition video production post-production process for color correction method is utilized as the basis of study.

• 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 Korea Multimedia Society
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• v.23 no.6
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• pp.792-801
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• 2020

Today, the media environment has changed dramatically with the development of Internet transmission technology, computer performance, and various media production technologies. In particular, video content is widely used every day through mobile device or computer connected to the Internet. In addition, the ability to produce video content today is more important than ever, as the use of video content is also increasing in the area of information delivery and communication over the Internet. In this study, it was developed a liberal education curriculum in universities for the production of video content. The developed curriculum was composed of a combination of an online curriculum for theory and an offline curriculum for practicum. In the online curriculum, a 54 DOOR contents were developed to allow students to learn the theoretical knowledge and basic making techniques related to the production of video content. In an offline 15-week practicum curriculum, it covered the practical training contents of video content production that should be acquired every week. This developed liberal education curriculum aims to give non-major students in universities the opportunity to learn the technology of producing video content and to foster the ability to communicate in the media environment by using the video content produced.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 1996.06b
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• pp.77-81
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• 1996

In order to conform to the needs of effective program production in multimedia era, we are studying Desk Top Program Production system. With the DTPP, users can easily produce multimedia program including video, sound, and ancillary data, and freely handle video images synthesizing video components retrieved from video database. This paper describes the new program production system, DTPP and its key technologies such as cooperative program production via multimedia network, indexing and utilization of attribute information of images, and image segmentation and spatio-temporal editing.

• Journal of Digital Contents Society
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• v.8 no.4
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• pp.531-539
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• 2007

An advance in digital technologies and an introduction of HDTV contents production systems have made innovative changes in a TV broadcasting program and video production environment. The role of HD contents production experts is particularly getting more important to have a competitiveness in digital video production. It is necessary to develop a professional training and reeducation program that is based upon the perception of production experts. In this paper, we ed the perception of video production professionals and analyzed their requirements. With a DACUM job analysis method, 9 job duties and 71 tasks were retrieved to establish a research model. Then the performing frequency, importance, and difficulty in video editor's duties were analyzed and discussed.

• Cartoon and Animation Studies
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• s.18
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• pp.73-88
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• 2010

With the recent trend of Web 2.0, experts argue that the UCC age has blossomed where people themselves produce their own content and share it on the Internet. However, more academic studies on video UCC production are needed to understand fully the video UCC phenomenon in Korea. This study was done as an exploratory study to investigate the motivations for video UCC production and its effects. Results reveal that the important motivations for participating in video UCC creation are fun, sharing, and self-expression. For the rewards for video UCC creation participation, feedback, sharing and self-satisfaction are considered valuable psychological rewards by the video UCC creators. Furthermore, the total amount of video UCC production is positively correlated with self-evaluation of fun, importance, and practicality of the video UCC content.

• International journal of advanced smart convergence
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• v.13 no.1
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• pp.23-36
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• 2024

Interest in virtual humans continues to increase due to the development of generative AI, extended reality, computer graphics technology, and the spread of a converged metaverse that goes beyond the boundaries between reality and virtuality. Despite the negative public opinion that virtual humans were just temporary form of entertainment event in the early days of their emergence, the reason they are showing continuous growth is due to the unique characteristics of virtual humans and the expansion of diverse usage from technological advancements. The production of video content using virtual humans is becoming vigorously active, but currently there is limitation and no exact process for the technology to apply virtual humans to video content for it to be produced accordingly to the characteristics or situations of virtual humans. In this study, we investigated the characteristics of virtual human production technology methods & processes, and identifying the impact of each production technology on the production environment through examples of virtual human content applied to domestic and international video contents. In conclusion, by proposing an appropriate production method for each content, we hope to develop and assist production practitioners so they can effectively use virtual humans in video content production.

• Journal of Game and Entertainment
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• v.2 no.1
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• pp.45-55
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• 2006

The video production, as a recording data about the archeological survey, has advantages to be visualized in actuality and historical fact presented objects with elements such as moving images, audio(voice) and text(subtitle). While the report with text and images such as photographs and drawings does not present exactly, the video production can record a concrete excavation process to be difficult of represent with former media. To make a practical use the video production in archeological surveys, the use dimension should be expanded to the entire archeological excavations and the shooting and editing work should be done by those video production-specialized staffs. Ultimately, when this video production device is used but also for the survey purposes but also for the education, exhibition, and even commercial purposes, it can have the substantial meaning as a survey tool.

• Journal of Broadcast Engineering
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• v.17 no.1
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• pp.1-16
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• 2012

In order to improve the workflow of 3D video production, this paper analyzes the visual fatigue caused from distortions in 3D video production stage through a set of subjective visual assessment tests. To establish a set of objective indicators for subjective visual tests, various distortions in production stage are investigated to be categorized into 7 representative visual-fatigue-producing factors, and to conduct visual assessment tests for each selected category, 4 test video clips are produced by combining the extent of camera movement as well as the object(s) movement in the scene. Each produced test video is distorted to reflect each of the selected 7 visual-fatigue-producing factors, and we set 7 levels of distortion for each factor, resulting in 196 5-second-long video clips for testing. Based on these test materials and the recommendation of ITU-R BT.1438, subjective visual assessment tests are conducted by 101 applicants. The test results provide a relative importance and the tolerance limit of each visual-fatigue-producing factor, which corresponds to various distortions in 3D video production field.