• Journal of Broadcast Engineering
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• v.17 no.1
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• pp.60-72
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• 2012

After the movie "AVATAR" became a good model of cash-cow in 3D movie, the profit of 3D-movie significantly reduced. One of the reasons why it happens comes from rare understanding of human factors for instance how viewers get immersed, but sometimes tired. Although 3D images should be more considered human visual system including eye, unfortunately most communication research ignored human factors. For those reasons this study observed the effect of 3D video on viewers' psychological response, especially for perceived eye movement, perceived characteristics, visual fatigue, and presence. With 90 participants, the results show that viewers' perceived feature effects on their presence. In detail, first, materiality and tangibility are more important factors than clarity in 3D video, and it means that when making 3D content or devices, materiality and tangibility should be considers that any other factor. Second, this study examined whether we perceive our eyes as media, and the result shows that as viewers' presence level became higher we perceive eye movements more, and as viewers' presence level became higher perceived visual fatigue became lower. This result means that when we move eyes, we interact with surrounded environment, so 3D content needs to provide vivid features to be more interactive. On the other hand, since level of presence increase visual fatigue, it must be balanced when producing and playing.

• Journal of Digital Contents Society
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• v.16 no.1
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• pp.127-135
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• 2015

The development of stereoscopic display hardwares and 3D authoring softwares expands its application areas from particular virtual simulation applications to general movies, games, advertising applications. However, the binocular-based 3D stereoscopic images cause fatigue to viewers. Recent performed many research results about the binocular stereoscopy's depth perception and viewers' fatigue are derived from experimental users studies. In some results, watching and making guidelines for 3D stereoscopic imaging contents are introduced. The 3D stereoscopic-related contents have the contradictory aspects, which are audiences' pursuit of a tolerable minimum fatigue and producer's its of excessive depth changes for providing viewers' immersion. This paper provides user experiments and analysis data in aspects of 3D depth changes. For use of producers, a safety zone and translational velocity of 3D depth changes are introduced. Also, on the viewer side, we present the depth change adaptation time by using an EEG device.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.651-664
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• 2018

With the rising popularity of food shows driven by the development of information and communication technologies, food-incorporated broadcasting programs based on various materials are produced in large numbers. This situation has raised a need for each program to examine viewers' preference factors for planning intentions in order to produce competitive programs. This study thus examined viewers' preference factors for food programs and planning intentions and discovered total three factors. The first factor places importance on practicality and entertainment and enjoys food and food programs as a means of resting. The second factor searches for specialized information and focuses on the essential meanings of food and the delivery of the right information. Finally, The third factor gets satisfaction from interactions with food programs and finds joy in storytelling and communication provided by broadcasting programs. These factors have different tendencies from one another, and the present study proposed a concept design for food broadcasting programs based on them.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.12
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• pp.93-104
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• 2019

This study set out to analyze the architectural trends in Bell's works and spaces by applying the Gaze theory of Jacques Lacan to his minimalism works, concept changes in their changing process, and the development of exhibition spaces related to him. The findings were as follows: first, his early glass cube works sought after the reproduction of the Real Order through the repeating eyes of viewers and objects by using exhibition lighting; second, his works in the Standing Wall category pursued the reproduction of the Real Order through the repeating eyes of many different viewers around objects; third, his Nesting Boxes tried to reproduce the Real Order of a higher competition level in the perception aspects, making the repetitive elements of Standing Walls converge and including even external environmental elements; fourth, there is no decisive gaze sought after by Judd or the Key Signifiant as the core of Lacan's philosophy in Bell's formative works; and finally, Bell's works pursue the completion of Simulacrum through the infinite repetition of Derrida's Deconstruction Philosophy through the infinite visual repetition sought after by Gehry and Moss in the LA School of Architects who shared the same area and period with him.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.9 no.4
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• pp.129-138
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• 2009

Character graphic design of TV screen, the major visual element, has become greatly important in its roles to help viewers understand visual information better and to enhance the qualities of the program. This research is to figure our a way of changing and improving the attributes of TV captions and graphics such as fonts, size, and caption speed appropriate to bigger and better qualified TV screen. Based on two Delphi surveys of graphics experts along with the theoretical studies, this article analyzes the relevance of visual perception to various visual elements of TV screen, and proposes a better plan in visual effects for various media under OSMU (One Source Multi Use).

• Korean Institute of Interior Design Journal
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• v.17 no.3
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• pp.139-147
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• 2008

Modern architecture's optical mechanism focused on Ocuularcentrism neglects the tactility of vision and tends to eliminate the optical and tactile dualism of traditional spaces by representing spaces and surfaces that are abstract and cold-hearted. In other words, all sensory experiences, except for visual experiences, are eliminated to make it impossible to create the substantial core of architecture that combines time, image, and surface textures. The fast-changing social trends, the emergence of new materials and technologies, and the corresponding development of various types of media since the Industrial Revolution have changed the paradigm of human perception and representation. With the development of media, other sensory experiences besides visual experience have been stressed and human perception has converted from single perspective to complex perspective. In result, new sensory items, such as visual tactility, have replaced the traditional vision-centered hierarchy. The composition of architectural surfaces has represented the functional and commercial needs of technology, structure, as well as the socio-cultural needs of the community. In contemporary times, it is being changed and developed by the new tactility and the corresponding expression of modern architecture. Based on the visual representation of tactility of architectural surface, this study used a composition of surface that combines various events, meanings, and senses to examine how architecture can mediate and reproduce viewers' visual experiences and discover the existential relationship between architecture and men.

• Korean journal of communication and information
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• v.19
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• pp.95-123
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• 2002

There has been a change in the South Korean policy towards the North which in turn changed the news frame of television broadcasters in South Korea. We did an empirical analysis of how this changed news frame influence the audiences' perception of North Korea and Unification. An experimental design was carried out in order to test the response of the audiences to different news frame. The results show that the respondents' perception towards North Korea were changed when exposed to a specific type of new frame. This confirms the existing knowledge on how news frame influence the perception of TV viewers. This research can serve as background information when making decisions to how the South Korean news media should report North Korea and Unification related news stories.

• Journal of Broadcast Engineering
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• v.17 no.6
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• pp.911-923
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• 2012

Recently, 3DTV and 3D displays have been released in the market. Accordingly, the production of stereoscopic images has gained much interest. Stereoscopic image being composed of left and right images are currently delivered to viewers without any modifications. The researches on the enhancement of depth perception using high-frequency components and the re-production of natural color by color compensation have been carried out for 2D images. The application of such 2D technologies to 3D stereoscopic images is an aim of this paper. This paper proposes the enhancement of 3D perception by color transformation. For this, we propose a stereo matching method for obtaining a depth map and two color transformation methods such as contrast transformation and background darkening. The effectiveness of the proposed method was verified through experiments.

• The Journal of the Korea Contents Association
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• v.16 no.3
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• pp.232-246
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• 2016

Subtitles in entertainment programs have extended the roles from providing additional explanation and complementary sound effect to maximizing amusement and impression as the type which triggers the audience's interest. This study examined the characteristics of the subtitles and the effects on the audiences, mainly focused on of JTBC. Based on the result of the content analysis, the interested subtitles are continuously presented in each episode (10~20%) compared to the proportion of the total captions. Producers have repeatedly used the nickname of the cast members to construct and reinforce the character of them. The text analysis shows that the audience's perception about the cast is mainly influenced by the subtitles. The producers intentionally use the subtitles and subjectively intervene in the entertainment programs. The subtitles have a major effect on the audience's perception and image formation. Producers should be more prudent about their use of subtitles and viewers, on the other hand, must interpret the meaning of subtitles, as active information consumers.

• Journal of Broadcast Engineering
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• v.19 no.1
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• pp.44-55
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• 2014

The goal of 3D stereoscopy is not only to maximize positive experiences (such as sense of realism) by adding depth information to 2D video but to also minimize negative experiences (such as fatigue). This study examines the impact of different depth levels induced by adjusting 3D camera convergences on positive and negative experiences and finds an optimal parameter for viewers. The results show that there are significant differences among depth levels on spatial involvement, realistic immersion, presence, depth perception, screen transmission, materiality, shape perception, spatial extension and display perception. There are also significant differences for fatigue and unnaturalness. This study suggests that reducing the camera convergence angle of an object by $0.17^{\circ}$ behind the object is the optimal parameter in a 3D stereoscopic setting.