Research on the Image Projection of Platform Screen X

선심이,정진헌 한국디지털정책학회 2017 디지털융복합연구 Vol.15 No.12

Screen X is one of the Premium Large-Format platforms. Screen X projects images and video along the side wall of the theatre that go in synch with the front main screen. It’s a different way of immersing the audience. This technique demands film-makers taking the two new “screens” into account when making movies. Screen X is the most obvious feature of viewing content with a range of 270 degrees. Viewers can view the experience of viewing experiences beyond the frame of screen screens by allowing viewers to experience the experience beyond the frame of screen screens, which means screen X can immerse the audiences without 3D glasses. Based on the results of this study, studies of content specifications and how they fit in the screen X are studied, and goals for maximizing the visual effects of the visual effects are studied. Looking forward to future research paper researchers and industry professionals who will benefit from future research papers.

N스크린 서비스의 저작권법적 고찰

차성민 ( Seong Min Cha ) 한남대학교 과학기술법연구소 2012 과학기술법연구 Vol.18 No.1

The “N Screen” service is regarded as a new technology that provides convenience and functionality to people living in the age of the information society, while enabling service providers in the related industry to overcome the stagnation currently afflicting the IT industry. This service has been made possible by the release of high-performance devices such as the smart-phone and smart TV, the rapid expansion of the contents market, and the development of cloud computing technology. However, the appearance of these new technologies and services in the broadcasting and communication convergence area has also engendered a number of new legal issues. Several legal issues can be assumed by service providers when providing the “N Screen” service, of which the illegal contents download and network neutrality issues have been actively discussed in this country. In addition, other copyright issues are likely to be raised, as more and more copyright holders try to exercise their right over the individual terminal, rather than the platform, as the use of terminals increases. Previously, rights and responsibilities were created and abolished for each platform, regarding the distribution right of contents or the simultaneous relay broadcasting right. In light of these circumstances, this paper reviews the issues related to the copyright on digital contents only, with the focus on judicial precedents. The main topic of this paper lies in discussing whether the existing framework, which determines copyright violation based on the platform or network, should be changed to one that is based on the individual device, as the new service called “N Screen” makes its presence felt. In addition, the user type of the “N Screen” service (personal user or service provider) seems to affect the user`s judgment with regard to copyright violation. Furthermore, some issues which have a tremendous impact on the dynamics of the market, such as network neutrality, must be considered properly if a reasonable conclusion is to be drawn. The “N Screen” service, which belongs to the technical and business area, is generating new problems for the legal area in that the topics discussed above should be taken into account comprehensively.

디지털 게임, 영화의 위기와 도전

심은진 청주대학교 학술연구소 2017 淸大學術論集 Vol.29 No.-

Following the success of digital games armed with delicate imagery and narrative power, movies based on games have appeared. Most of them were not well-known on the box office compared to their originals. Additionally, their cinematic quality were neither praised nor appreciated. The failures evident in game movies were mostly based on the stories and characters. This study is about the difference between filmography and digital games with a concentration on image and perspective. Many expressions from movies were used in digital games, such as 3D space directing, subjective viewpoint, and the use of long take. However, the virtual reality created in the digital world is distinct from movies. Games and films are both similar and different in many ways. The failure of a movie adapted from a successful digital game comes from the misunderstanding of both media. Connection among shorts, relation between on screen/offscreen, and subject (audience)/object (screen) are important factors that form the aesthetics of filmography. These relations are absent in the virtual imagery of digital games. There is no offscreen nor montage. The game world consists of time and space of continuity and homogeneity. In this virtual world, distinction between the gamer and the image become faint and fused. With that, the ego of the subject (gamer) is split. The audience of a movie and the player of a digital game are different. To watch a film is a group experience. The same story is enjoyed in the same space and time - the theater. Movies are told by the relationship among characters. Digital game is the opposite. It is a personal experience in various stories, and time based on each gamer’s play. The world of game is for game itself, and for the gamers. Each player makes his/her own experience into a story. The moment of gaming is a solitary experience, whatever the genre is. Making a digital game into a movie is like moving an individual into a group. Movies are getting similar with digital games and vice versa. Their symbiotic relationship could be kept by understanding both differences and similarities.

동행하는 이미지 -디지털 시네마의 이동성(mobility)에 관한 연구-

김금동,남기웅 한양대학교 현대영화연구소 2019 현대영화연구 Vol.15 No.4

This paper discusses the mobility of digital cinema improved as cinema screening and viewing styles are changed by digital technology. As the whole process of cinema production and screening has been converted to digital, the characteristics of cinema images, which were described mainly on camera lenses and films, need to be newly considered in terms of projection and screen. Therefore, this paper discusses the process of moving to the N-screen era, replacing traditional film screens with small portable displays, and the impact of OTT services and Netflix. Digital technology is encouraging the audience to experience decentralization and privatization in the process of accommodating the cinema as ‘images that accompany human’. And this paper would to clarify that digital cinema establishes its aesthetic characteristics by taking the remediation strategy of hypermediation and non mediation. Digital cinema now accompanies human without being anchored in the physical space of reality. Therefore, in order to understand the aesthetics of digital cinema, we need to consider the existence of the images we are accepting today and the changes that result. 본 논문은 영화 상영과 관람 방식이 디지털 테크놀로지에 의해 변화함에 따라 향상된 디지털 시네마의 이동성(mobility)에 대해 논한다. 영화의 제작 및 상영의 전 과정이 디지털로 전환되면서 카메라 렌즈와 필름을 중심으로 서술되었던 영화 이미지의 특성도 영사와 스크린의 측면에서 새롭게 고찰될 필요가 발생하였다. 따라서 본 논문에서는 영화 스크린이 휴대 가능한 소형 디스플레이로 대체되며 N-스크린 시대로 나아간 과정, 그리고 디스플레이의 다변화로 등장한 OTT 서비스와 넷플릭스의 영향에 대해 논의한다. 이러한 조건은 영화관이라는 중심화된 공간에서 영화를 꺼내어 관객으로 하여금 ‘동행하는 이미지’로서 영화의 수용 과정에서 탈중심화와 사유화를 경험하게끔 유도하고 있다. 그리고 본 논문에서는 이를 통해 관객과 동행하는 이미지로서의 디지털 시네마가 하이퍼매개와 비매개라는 양단의 재매개 전략을 취하면서 새로운 미학적 특성을 확립해나가고 있음을 밝히고자 한다. 디지털 시네마는 이제 현실의 물리적 공간에 정박해있지 않고 관객과 ‘동행하는 이미지’로서 존재한다. 동시대의 사례들을 통해 우리가 수용하고 있는 이미지의 현존과 그로 인한 변화가 무엇인지를 고민해본다는 것은 오늘날 대중적 시각문화로 자리하고 있는 디지털 시네마의 미학을 이해하기 위한 과정으로서 의의가 있을 것이다.

Fabrication and Evaluation of a Gd2O2S:Tb Phosphor Screen Film for Development of a CMOS-based X-ray Imaging Detector

박지군,최수림,노시철,정봉재,최일홍,강상식 한국물리학회 2014 THE JOURNAL OF THE KOREAN PHYSICAL SOCIETY Vol.65 No.3

In this study, Gd2O2S:Tb phosphor screen films were fabricated by using a special particle-inbindersedimentation method. The phosphor particles used in this study were manufactured in twosizes, 2.5-μm and 5-μm. To evaluate luminescence efficiency and the spatial resolution according tothe thickness, we fabricated screen films with thicknesses of 120, 150, 170, and 210-μm. The spatialresolution of the fabricated films was assessed by using an edge method to measure the modulationtransfer function (MTF). From the experimental results, the spatial resolution of the mammographyexposures (low-energy X-ray quality) was better than that of dental radiography (high-energy X-rayquality). Also, with the same film thickness, the screen with 2.5-μm particles had better resolutionthan the screen with 5.0-μm particles, but it showed about 20% lower resolution than a commercialGd2O2S:Tb screen. In the evaluation of the results for the dependence of the spatial resolution onthe film’s thickness, the 120-μm-thick screen showed the highest resolution, which was similar tothat of a commercial screen.

디지털증거 자동선별 시스템에 관한 연구

윤상혁,이상진 한국디지털포렌식학회 2020 디지털 포렌식 연구 Vol.14 No.3

대부분의 범죄 사건 조사에서 전자정보를 압수하는 것이 필수가 되었다. 확보한 시스템에서 저장 매체의 이미지를 생성한 후, 범죄사실 입증을 위해 범죄와 관련된 증거를 확보하여 수사에 활용하고 있다. 그런데 범죄의 유형별로 탐색해야 하는 데이터의 종류가 다르고, 대용량 저장매체를 면밀히 탐색하려면 많은 시간이 소요되므로 어떤 부분을 탐색하여 선별해야 할지 판단하는 것이 쉽지 않다. 또한 탐색하는 과정에서 범죄사실과 관련 없는 정보를 접하게 되면 피압수자의 프라이버시 침해에 대한 우려가 발생한다. 기존 증거수집시스템은 어떤 데이터를 수집하고 선별할지를 모두 조사자에게 위임하고 있으므로 효율적이고 빠른 증거분석이 어렵고 조사자가 모든 범죄를 전문적으로 대응하는 것은 불가능하다. 따라서 필수적으로 탐색해야 하는 데이터가 누락되는 경우도 있다. 본 논문에서는 디지털포렌식 업무에 적합한 범죄 유형을 정의하고, 범죄 유형에 따라 필수적으로 탐색해야 하는 데이터를 자동으로 수집함으로써 과도한 수집 또는 누락 없이 효율적이고 빠른 선별을 가능하게 하는 디지털증거 자동선별 시스템을 제안한다. In most criminal investigations, it has become essential to seizure electronic information. After creating an image of the storage media in the secured system, evidence related to crime is secured and used for investigation to verify the crime facts. However, the types of data that need to be explored vary depending on the type of crime, and it takes a lot of time to scrutinize large storage media, so it is not easy to determine which parts to explore and select. In addition, access to information unrelated to criminal facts in the course of the search raises concerns about privacy infringement of the person under arrest. Existing evidence collection systems delegate all the data to the investigator to collect and screen, making it difficult to analyze evidence efficiently and quickly and impossible for the investigator to respond professionally to all crimes. Therefore, in some cases, data that must be explored is missing. In this paper, we define the crime type suitable for digital forensics work, and propose a digital evidence automatic screening system that automatically collects the data that must be explored essential according to the crime type, enabling efficient and fast screening.

Digital Breast Tomosynthesis as a Breast Cancer Screening Tool for Women with Gynecologic Cancer

김다훈,정진,차은숙,이지은,김정현 대한영상의학회 2020 대한영상의학회지 Vol.81 No.4

Purpose The purpose of our study was to evaluate digital breast tomosynthesis as a breast cancer screening modality for women with gynecologic cancer. Materials and Methods This retrospective study included patients with underlying gynecologic malignancies who underwent screening digital breast tomosynthesis for breast cancer. The cancer detection rate, recall rate, sensitivity, specificity, and positive predictive value (PPV) were calculated. PPV1 was defined as the percentage of all positive screening exams that have a tissue diagnosis of cancer within a year. PPV2 was defined as the percentage of all diagnostic exams (and Breast Imaging Reporting and Data System category 4, 5 from screening setting) with a recommendation for tissue diagnosis that have cancer within a year. PPV3 was defined as the percentage of all known biopsies actually performed that resulted in a tissue diagnosis of cancer within the year. For each case of screen-detected cancer, we analyzed the age, type of underlying gynecologic malignancy, breast density, imaging features, final Breast Imaging Reporting and Data System assessment, histologic type, T and N stages, molecular subtype, and Ki-67 index. Results Among 508 patients, 7 with breast cancer were identified after a positive result. The cancer detection rate was 13.8 per 1000 screening exams, and the recall rate was 17.9%. The sensitivity was 100%, and the specificity was 83.2%. The false negative rate was 0 per 1000 exams. The PPV1, PPV2, and PPV3 were 7.7, 31.8, and 31.8, respectively. Conclusion Digital breast tomosynthesis may be a promising breast cancer screening modality for women with gynecologic cancer, based on the high cancer detection rate, high sensitivity, high PPV, and high detection rate of early-stage cancer observed in our study.

CogTrain: A Study on a User-Centric Mobile Sevrice for Dementia Prevention and Cognitive Management

·Jeanne Lee,Soon-Bum Lim,Dong-Whan Kim 한국멀티미디어학회 2024 멀티미디어학회논문지 Vol.27 No.1

This study aims to develop a user-centric cognitive screening mobile app, “CogTrain”, focused on dementia prevention and cognitive management in South Korea. Unlike existing apps, CogTrain encourages continual and long-term usage by ensuring engaging user experiences. Traditional digital dementia screenings, while effective in identifying subtle cognitive changes unseen in hospital screenings, suffer from low engagement and utilization over extended periods. This research, conducted in two parts, first evaluates existing apps’ usability and then proposes and assesses a newly designed app through rigorous usability tests and iterative design approaches. Derived from in-depth interviews and multiple testing rounds with cognitively healthy adults aged 20 to 65, CogTrain offers incentivized short games targeting memory, psychomotor skills, and calculation abilities, integrating elements from medical dementia screenings. Findings underscore the significance of a user-centered design in fostering intrinsic motivation for users, encouraging consistent and long-term participation in remote cognitive screenings for dementia prevention.

‘스크린 위의 글쓰기’ 과정에 나타난 아동의 예상독자 고려 전략 및 댓글에 반영된 의사소통 특성

현은자(Eunja Hyun),김현경(Hyeonkyeong Kim),유진경(Jinkyoung You) 한국콘텐츠학회 2014 한국콘텐츠학회논문지 Vol.14 No.12

본 연구에서는 ‘스크린 위의 글쓰기’ 과정에서 아동이 예상독자를 어떻게 고려하며, 글쓰기 공동체의 의사소통의 중심에 있는 댓글은 독자와의 관계에서 어떤 수행성을 나타내는지 조사하였다. 이를 위해 초등학교 4-6학년 아동의 게시 글에서 635개의 문장과 424개의 댓글을 수집하여 분석하였다. 연구 결과, 아동의 예상 독자를 고려한 글쓰기 전략은 끌어들이기 전략이 가장 많이 나타났고, 세부 전략으로는 감정에 호소하는 전략이 가장 많이 사용되었으며, 댓글의 수행행위는 표출 행위가 가장 많이 나타났다. 또한 아동의 PAIR 전략은 회기가 진행되면서 증가하였다가 다시 감소하는 양상을 보였으며, 아동은 게시 글을 작성할 때 다양한 방식으로 복합양식을 사용하는 것으로 나타났다. 한편, 댓글에 나타나는 의사소통의 특성 역시 감정적이고 정서적인 표현에 치우쳐져 있었으며, 아동의 댓글에는 저자 및 제 3의 독자들을 예상한 의사소통이 이루어졌고, 게시 글과 관련된 의견 교류뿐만 아니라, 아동의 일상적인 문화가 반영되어 나타났다. The purpose of this study is to investigate how children use the PAIR strategy for their audiences in the writing on the screen and how the comments play a role to communicate between an author and audiences. In order to perform this research, 7 elementary school students(4th-6th grade) participated in the literary education program designed to promote to write on the screen. As a result, 42 body texts(635 sentences) and 424 comments of children’s writing on the screen were collected and analyzed according to the PAIR strategies and performance behaviour. The findings are as follows: first, ‘attracting’ is used the most among PAIR strategies and second, the most frequent performance behavior of comment is ‘expression.’ These findings indicate that children’s writing strategy considering audiences tends to be emotionally appealing and performance behavior of comment is likely to focus on affective expression.

그린스크린 기반 버추얼 프로덕션을 활용한 뮤직비디오 제작 연구

박기범,조승우 한국콘텐츠학회 2025 한국콘텐츠학회논문지 Vol.25 No.5

최근 미디어 콘텐츠 제작 환경은 버추얼 프로덕션 기술의 발전으로 급격히 변화하고 있다. 버추얼 프로덕션 기술은 다양한 분야에서 활발히 도입되며 콘텐츠 제작에 새로운 패러다임을 형성하고 있다. 하지만 LED Wall과 같은 고가의 장비를 필요로 하는 버추얼 프로덕션 환경은 많은 제작자들에게 접근하기 어려운 한계로 작용하고 있다. 이러한 상황에서 그린스크린 기반 버추얼 프로덕션은 대안이 될 것으로 보인다. 미디어 콘텐츠 중 상대적으로 분량이 짧은 뮤직비디오를 제작해 보며 그린스크린 버추얼 프로덕션 구축에 대한 실무적 가이드와 시사점을 도출하였다. The media content production environment has been undergoing rapid change due to advances in virtual production technology. Virtual production has been actively adopted in various fields, establishing a new paradigm in content creation. However, because virtual production often requires costly equipment such as LED walls, it can pose significant barriers for many creators. In this context, green-screen-based virtual production emerges as a promising alternative. By producing a music video—one of the relatively shorter forms of media content—this study derives practical guidelines and key insights for building a green-screen virtual production environment.