KR20210120648A - Method for providing choreography content service - Google Patents

Abstract

Presented is a method for providing a choreography content service, which matches optimal choreography content among choreography created by choreographers for each part of a sound source and provides a choreography content service based on the optimal choreography content. The presented method is a method for providing a choreography content service by an apparatus for providing a choreography content service. The method comprises the steps of: receiving the upload of the one or more choreography content corresponding to the sound source and sharing the uploaded choreography content on a service platform; generating choreography matching data including choreographer-specific information corresponding to the choreography content according to a user input corresponding to the service platform; generating tracking information based on a user activity for each choreography content for which the choreography matching data is generated; storing and managing the tracking information and the choreography matching data; and settling a payment cost to a choreographer corresponding to the choreographer-specific information based on the tracking information and the choreography matching data. In the settling step, a ratio of the choreography content contributing to a revenue generated from advertiser content is calculated according to the choreography matching data and the tracking information.

Description

Method for providing choreography content service

The present invention relates to a method for providing a choreography content service, and more particularly, to a method for providing a choreography content service using an apparatus capable of providing a choreography content service corresponding to sound source content.

In order for a culture to be born, a creative flow should be the foundation, and it is desirable that appropriate rewards and rewards for creation should follow in order for creative content to be continuously created and developed.

To this end, the right to protect cultural content and to recognize it as a creative work should be granted to creators. Here, the personal and property rights of the author to exclusively use his or her work or to permit it to others are called copyright. Copyright is a right that guarantees the exclusive and exclusive use of works of art such as literature and films, and it is also the right to prevent the publication of the copyright holder's work or the arbitrary use of the work through reproduction.

Currently, copyrights in the broadcasting and music fields are well-established with related organizations and legal systems, so creators in those fields are adequately compensated for their creations, and when a new creation is created, related costs are paid.

On the other hand, choreographers or groups create appropriate choreography according to the music and receive related expenses. After that, the concept of copyright becomes ambiguous. Composers, lyricists, and singers related to music copyright receive royalties that are accrued in the future based on the number of broadcast appearances and music video views. is a problem of

In other words, in the recent case, choreographers have played a big role in promoting music sources through choreography in line with the visual era.

Prior Art 1: Republic of Korea Patent Publication No. 10-2018-0065955 (A device and method for implementing motion synchronization and mutual interference in a choreography copyright system) Prior Art 2: Republic of Korea Patent Registration No. 10-2013577 (Apparatus and Method for Supporting Choreography Concept)

The present invention has been proposed to solve the above-mentioned problems in the prior art, and provides a method for providing a choreography content service that matches the optimal choreography content among choreography created by choreographers for each part of the sound source and provides a choreography content service based on this. There is a purpose.

In order to achieve the above object, a method for providing a choreography content service according to a preferred embodiment of the present invention is a method for a choreography content service providing apparatus to provide a choreography content service, wherein one or more choreography content corresponding to a sound source is uploaded and serviced. sharing on the platform; generating choreography matching data including choreographer-specific information corresponding to the choreography content according to a user input corresponding to the service platform; generating tracking information based on user activity for each choreography content for which the choreography matching data is generated; storing and managing the tracking information and the choreography matching data; and, based on the tracking information and the choreography matching data, calculating a payment cost to a choreographer corresponding to the choreographer-specific information; A proportion contributed by the choreography content is calculated according to the choreography matching data and the tracking information.

The tracking information includes one or more choreographer-specific information corresponding to the choreography content, choreography contribution information corresponding to the choreographer-specific information, choreography selection information for each choreography content, choreography inquiry information, choreography sharing information, choreography delivery information, and It includes one or more of the choreography evaluation information.

The choreography matching data includes analysis information of the sound source, choreographer identification information for each part in the sound source, part information in the sound source, and time section information.

According to another preferred embodiment of the present invention, one or more choreography contents corresponding to the sound source are received, and user activity information on the service platform for each choreography content for which the choreography matching data is generated is received. receiving step; and a watermark embedding step of inserting a watermark into the choreography content received in the receiving step, providing the choreography content based on the choreography matching data, At least one of selection, inquiry, sharing, delivery, and evaluation information included in the user activity information is stored in the database as the tracking information.

On the other hand, according to another preferred embodiment of the present invention, in the calculating step, based on the choreography matching data, the ratio of parts corresponding to choreography unique information of 1 to n choreographers among the sound sources included in the choreography content calculating a value calculated by multiplying by the total ratio as a ratio of profits to be paid to one to n choreographers; and calculating a final cost to be paid to 1 to n choreographers by multiplying the revenue ratio of the 1 to n choreographers by the advertisement revenue of the choreography content calculated according to the tracking information.

According to the present invention having such a configuration, it is possible to manage choreography videos created and uploaded by choreographers for each part in the sound source.

In addition, tracking information including information such as inquiry, sharing (including delivery), selection, and popularity for each choreography video can be created and managed.

In addition, it is possible to provide a choreography content service by generating choreography matching data corresponding to the sound source based on selection information for each part from among the choreography videos for each part in the sound source.

In addition, according to the data information managed for each choreography video through the choreography content service, it is possible to rationally settle the distribution/payment of revenue to choreographers in connection with the choreography copyright.

1 is a configuration diagram of a system to which an apparatus for providing a choreography content service according to an embodiment of the present invention is applied.
FIG. 2 is an internal configuration diagram of the server shown in FIG. 1 .
3 is a flowchart illustrating generation and management of tracking information in a method for providing a choreography content service according to an embodiment of the present invention.
4 is a flowchart illustrating a method of providing a choreography content service according to an embodiment of the present invention.
5 and 6 are examples of screens employed in the description of FIG. 4 .

Since the present invention can have various changes and can have various embodiments, specific embodiments are illustrated in the drawings and described in detail.

However, this is not intended to limit the present invention to specific embodiments, and it should be understood to include all modifications, equivalents and substitutes included in the spirit and scope of the present invention.

The terms used in the present application are only used to describe specific embodiments, and are not intended to limit the present invention. The singular expression includes the plural expression unless the context clearly dictates otherwise. In the present application, terms such as “comprise” or “have” are intended to designate that a feature, number, step, operation, component, part, or combination thereof described in the specification exists, but one or more other features It should be understood that this does not preclude the existence or addition of numbers, steps, operations, components, parts, or combinations thereof.

Unless defined otherwise, all terms used herein, including technical and scientific terms, have the same meaning as commonly understood by one of ordinary skill in the art to which this invention belongs. Terms such as those defined in a commonly used dictionary should be interpreted as having a meaning consistent with the meaning in the context of the related art, and should not be interpreted in an ideal or excessively formal meaning unless explicitly defined in the present application. does not

Hereinafter, preferred embodiments of the present invention will be described in more detail with reference to the accompanying drawings. In describing the present invention, in order to facilitate the overall understanding, the same reference numerals are used for the same components in the drawings, and duplicate descriptions of the same components are omitted.

1 is a block diagram of a system to which an apparatus for providing a choreography content service according to an embodiment of the present invention is applied.

The system of FIG. 1 may include a producer terminal 10 , a choreographer terminal 20 , a network 30 , a database 40 , a server 50 , and a general user terminal 70 .

Here, the producer terminal 10 is a terminal of a content producer, and the choreographer terminal 20 is a terminal of a choreographer including a general public who creates choreography, a singer, a dance influencer, etc., and a general user terminal 70 is a terminal for general users who are interested in content and dance except for content creators and choreographers, or who want to learn choreography through a choreography content service.

In the specification of the present invention, the producer terminal 10, the choreographer terminal 20, and the general user terminal 70 are collectively referred to as a user terminal.

The producer terminal 10 may upload the sound source to the server 50 through the network 30 . Here, the sound source at the time of upload means the pure sound source itself without choreography.

And, when the producer terminal 10 uploads the sound source, it requests to produce a choreography suitable for the sound source.

In this case, the producer terminal 10 may add a separate interface so that the producer requests the choreographer he usually prefers to produce the choreography when the sound source is uploaded. The process of selecting a choreographer that a producer usually prefers can be performed through the following process. First, the interface is configured so that the producer directly searches for and selects choreographers, ordinary people, singers, influencers, etc. who have signed up for membership through the server 50 of the choreography content service providing device and sends a message to request choreography production. In addition, if the producer later selects choreography videos provided by choreographers or views choreography videos of specific choreographers multiple times, choreographers with high choreography video selections and views, choreography videos and choreography styles with high choreography video selections and views. An interface is set up that automatically recommends several choreographers who practice similar choreography, and the producer can send a message to the choreographers to request choreography.

Also, the sound source would have been segmented into several parts (sections). For example, the sound source may be segmented into unit sound source parts such as an introductory part, a chorus part, and a main part. As another example, the sound source may be segmented into unit sound source parts of approximately 4 to N seconds. Here, the sound source segment into several unit sound source parts may be performed by the content creator. In addition, the sound source segmentation into several unit sound source parts may be automatically segmented by the control unit of the server 50 of the choreography content service providing apparatus, not the content producer. When the sound source is segmented in the server 50, it is modified according to the audio spectrum, fade-in, fade-out, lyrics processing of vocals, target rhythm, rhyme or accompanying accompaniment and score or note sequence. It may be automatically segmented through at least one or more methods such as pitch.

When the producer terminal 10 uploads the sound source to the server 50, a brief description of the sound source (eg, genre, characteristic, atmosphere, birth background, etc.) and characteristic information for each part of the sound source (eg, genre, atmosphere, etc.) This is to help choreographers create choreography in the future.

In FIG. 1, only one manufacturer's terminal 10 is shown, but it should be understood that there are actually several manufacturer's terminals.

Also, the producer terminal 10 may transmit information on selecting one or more desired choreography videos to the server 50 . That is, when the sound source is uploaded to the server 50, the server 50 transmits the sound source to the terminals 20 of all choreographers registered as members or that the new sound source has been uploaded to the terminals 20 of all choreographers registered as members. inform Thereafter, after checking the received sound source, the choreographers create a choreography for a desired part in the sound source and upload the corresponding choreography video to the server 50 . Then, the server 50 transmits one or more choreography videos for each sound source part received to the corresponding producer terminal 10 . Accordingly, the producer of the corresponding producer terminal 10 selects one or more choreography videos considered to be most optimal for each part. In this way, it is possible to determine one or more choreography for all parts of the corresponding sound source. When the content producer completes the selection of choreography for each part in the sound source, choreography selection information for each sound source part corresponding thereto is transmitted to the server 50 through the network 30 . Such choreography selection information for each sound source part can be used not only to generate choreography content for the sound source, but also be used as an example of tracking information for providing additional services in the server 50 later.

The choreographer terminal 20 may access the server 50 through the network 30 and register as a member. For example, when registering as a member, the choreographer's SNS account information, profile information, ID or tag, password, creative choreography genre, bank account number, etc. are registered. Here, the profile information may include a name, resident registration number, major career details, and the like.

The choreographer terminal 20 receives a sound source registered in the server 50, or receives a choreography production request message received personally from the producer terminal 10, and one or more choreography videos for a desired part in the sound source. It can be produced and uploaded to the server 50 . That is, since a web camera (not shown) is installed in the choreographer terminal 20 , a video of the choreographer's choreography can be uploaded to the server 50 . In this case, the choreographer terminal 20 may upload the information of the choreographer who created the choreography video together with the choreography video in the form of a tag such as a hashtag.

In order to create the choreography, the choreographer plays and listens to the desired part among all the parts of the sound source and dances the appropriate dance. In this case, a predetermined waiting time is displayed on the choreographer terminal 20 before dancing, and when the waiting time is over, the choreographer can dance to the sound source being reproduced.

Although only one choreographer terminal 20 is shown in FIG. 1, it can be understood that there are actually several choreographer terminals.

The general user terminal 70 may request a choreography inquiry to the server 50 through the network 30 . When applying for a choreography inquiry, the general user terminal 70 may input the name of the song and the singer of the sound source to which the choreography to be inquired is connected. If necessary, the general user terminal 70 may input information (eg, a choreographer's name and/or a tag for a choreography video) of a choreography video to be viewed when applying for a choreography inquiry. The server 50 may know which choreographer's choreography video is currently being viewed based on unique information (eg, watermark or URL information) for each choreography video and choreographer information for each choreography video. Such choreography inquiry information (ie, the number of choreography inquiry) may be used as an example of tracking information for distributing and paying profits to the choreographer in the server 50 later. And, since the general user terminal 70 can input evaluation information (eg, likes, dislikes, etc.) for the choreographed choreography, the evaluation information is later distributed by the server 50 to the choreographers. It can be used as an example of tracking information and is helpful in selecting the best choreography.

Of course, the general user terminal 70 may not only request a choreography inquiry, but may also share the choreography that the viewer enjoys with others or deliver it to others. Even in this case, the server 50 determines that the currently shared or transmitted choreography video is a choreographer's choreography video based on unique information (eg, watermark or URL information, etc.) of the shared or transmitted choreography video and the choreographer information of the choreography video. cognition can be known. Also, the server 50 can sufficiently track the fact that the choreography video that has been shared or transmitted once is shared or transmitted to others again. Such choreography sharing information (ie, choreography sharing frequency) and choreography delivery information (ie, choreography delivery frequency) can be used as an example of tracking information for distributing and paying profits to the choreographer in the server 50 later. In addition, since the general user terminal 70 can input evaluation information (eg, likes, dislikes, etc.) for shared or delivered choreography, the server 50 distributes profits to the choreographers later. It may be used as an example of tracking information for payment.

Also, the general user terminal 70 may request a dance lecture to the server 50 through the network 30 . When requesting a dance lecture, the general user terminal 70 may input a desired dance instructor name and/or a song name together. Meanwhile, when the general user terminal 70 requests a dance lecture, it receives a streaming image for a dance lecture from the server 50 . At this time, since the server 50 can know the choreographer information of the streaming video for the dance lecture that is transmitted by streaming, the choreographer information according to the streaming video for the dance lecture is tracking information for distributing and paying the revenue to the choreographer in the server 50 later may be used as an example of And, since the general user terminal 70 can input evaluation information (eg, likes, dislikes, etc.) for the streaming video for dance lectures, such evaluation information is also paid by distributing revenue to the choreographer in the server 50 later. It can be used as an example of tracking information for

On the other hand, the general user terminal 70 can not only repeat a section with respect to the received streaming video for a dance lecture, but also perform a special slow motion in units of 0.1 seconds, which is captured at a high concentration in a frame of about 60 seconds. And, the general user terminal 70 is equipped with a web camera, etc. to perform a function of one-click feedback (ie, uploading to the server 50) a dance image of the user (ie, a dance participant). have. On the other hand, the general user terminal 70 may receive a feedback screen view (eg, video/audio/text feedback possible for each video scene) from the server 50 in response to the dance instructor's feedback image upload view. have.

In the above description, it has been described that the sound source is uploaded from the producer terminal 10, but if necessary, the choreographer and the general user can also create the sound source, so that the choreographer and the general user can also upload the sound source. Accordingly, the content creator and choreographer may be general users, the content creator may be a choreographer, the choreographer may be a content producer, and the general user may be a content creator or choreographer. Accordingly, as described above, it is preferable that the producer terminal 10, the choreographer terminal 20, and the general user terminal 70 are collectively referred to as a user terminal. That is, content creators, choreographers, and ordinary people may be collectively referred to as users.

Therefore, it should be understood that not only the choreographer registers as a member, but, as necessary, not only the choreographer but also the content creator and general user can register as a member as described above.

The network 30 may be implemented as a wired network such as, for example, a local area network (LAN), a wide area network (WAN), or a value added network (VAN). In addition, the network 30 is a mobile communication network (mobile radio communication network), satellite communication network, Bluetooth (Bluetooth), Wibro (Wireless Broadband Internet), HSDPA (High Speed Downlink Packet Access), Wi-Fi (Wi-Fi), LTE (Long) Term Evolution) may be implemented in all types of wireless networks. If necessary, the network 30 may be a network in which wired and wireless are mixed.

The database 40 stores member registration information.

The database 40 stores the sound source uploaded by the user and at least one choreography video uploaded for each part of the sound source (more specifically, a choreography video in which a watermark is inserted from the server 50). Here, the watermark may be identification information of the corresponding choreography video. Accordingly, the database 40 stores information indicating the characteristics of a watermark for each choreography video or a watermark pattern, information indicating which choreographer the choreography video belongs to, and the like.

In addition, the database 40 contains a brief description of the sound source uploaded by the user, characteristic information for each part of the sound source, and choreographer information for the choreography video uploaded by the user for each sound source part (ie, information of the choreographer who created the choreography video). ), and so on.

In addition, the database 40 stores the upload time of the sound source uploaded by the user and the upload time of the choreography video uploaded by the user. Here, the upload time of the choreography video may be used to resolve the controversy over the choreographer who created the choreography video.

In addition, the database 40 stores the number of choreography selections for each choreography video, the number of choreography inquiries, the number of choreography sharing, the number of choreography delivery times, and choreography evaluation information. Such choreography selection times, choreography inquiry times, choreography sharing times, choreography delivery times, and choreography evaluation information may be examples of tracking information. The server 50 will be able to determine which part of the choreography video is most popular with users through the number of choreography selections, the number of choreography inquiry, the number of choreography sharing, the number of choreography delivery times, and the choreography evaluation information. Based on the popular choreography video for each part identified in this way, when it is necessary to produce a choreography for a sound source, the server 50 may recommend a choreography video or a choreographer according to the characteristics of each part of the sound source.

Accordingly, the database 40 stores tracking information for each choreography video.

In addition, the database 40 stores choreography matching data for each sound source. Here, the choreography matching data includes analysis information of the corresponding sound source (eg, genre and characteristic analysis information), choreographer identification information for each part in the corresponding sound source (ie, unique information), and part information within the sound source (eg, choreography video of the corresponding part). identification information, etc.), and time section information (eg, time section information occupied by each part in the sound source), and the like.

The choreography matching data and tracking information stored in the database 40 are closely related to each other. For example, the more the number of selections, the number of views, the number of sharing, the number of delivery, and the evaluation of good content (eg, likes) for the choreography video, it may mean that the choreography video is more popular, so the server 50 Through such choreography matching data and tracking information, it is possible to sufficiently identify which popular choreography video (eg, best choreography video) is and who is the creator (ie, best choreographer) of the popular choreography video. Accordingly, when the server 50 provides the identified information to the user, the user may be helped in creating or selecting a choreography in consideration of the popular choreography for each part.

In addition, the server 50 collects the above-mentioned information as tracking information when the user selects, inquires, shares and delivers a specific choreography video and a specific choreographer or leaves positive feedback so as to understand each user's taste. Thus, it is possible to recommend a choreography video and a choreographer with a style similar to the user's tracking information. This applies not only to the user but also to the producer, and the producer can request a choreography production by sending a message to the choreographer after receiving a choreography video and choreographer recommended for the producer's taste.

That is, the server 50 may generate tracking information based on at least one of selection, inquiry, sharing, delivery, and evaluation of users and producers for each choreography video. Then, the server 50 stores the generated tracking information in the database 40 .

If necessary, the choreography matching data may be included in the tracking information, and the choreography matching data and the tracking information may be operated separately.

The server 50 may generate choreography content (ie, choreography content in which one or more choreography videos for each part of a corresponding sound source exist for one sound source) based on the choreography matching data. The generated choreography content may be stored in the database 40 .

The server 50 stores the member registered choreographer's information in the database 40, and transmits the sound source uploaded from the producer terminal 10 (eg, sound source requiring choreography production) to the terminal 20 of all choreographers registered as members. send to Here, when transmitting the uploaded sound source to the terminals 20 of all choreographers registered as members, the server 50 sends a request to create a choreography for a desired part among the parts in the sound source and upload a video together. Of course, if necessary, instead of transmitting the sound source uploaded from the producer terminal 10 to the terminals 20 of all choreographers registered as members, notifying the terminals 20 of all registered members of the choreographer that the sound source has been uploaded It may be made as Then, the choreographers access the server 50 to check the sound source and then upload the choreography video.

Accordingly, the server 50 may receive one or more choreography contents corresponding to the uploaded sound source and share it on the service platform. Here, the service platform shares the sound source, the choreography video, or the choreography content based on the choreography video with user terminals connected to the server 50, and updates user activity information according to individual user terminal input is possible. Comprehensive choreography services can be provided.

In particular, the server 50 generates choreography matching data including choreographer-specific information corresponding to the choreography content according to a user input corresponding to the service platform, and a user for each choreography content for which the choreography matching data is generated. It is possible to generate tracking information based on the activity, and based on the tracking information and the choreography matching data, it is possible to calculate a profit to be paid to the choreographer corresponding to the choreographer-specific information.

Accordingly, the server 50 may pay various revenues such as advertisement revenue generated according to user activity corresponding to the choreography content as actual distribution revenue to choreographers who created actual choreography, not just platform producers. The server 50 may store and manage the choreography matching data and the tracking information generated in advance in response to the choreography content as basis information for this purpose, and may be appropriate for each choreographer according to the choreography matching data and the tracking information. Contribution, etc. are calculated and appropriate fees can be paid to each individual choreographer's registered account in the platform. Here, the cost may be cash, but virtual currency operated on a service platform may also be exemplified.

Meanwhile, as the choreographers create choreography for a desired part in the sound source and upload the corresponding choreography video to the server 50, the server 50 inserts a watermark into the uploaded choreography video for each part. For example, if it is assumed that the sound source for choreography production consists of three parts and two choreography videos are uploaded for each part, the server 50 can visually recognize the choreography video to protect the choreography copyright. Insert an absent watermark. In this case, the watermark may include information indicating which choreographer's choreography video for each choreography video. Here, it is believed that a person in the same industry can fully understand the method of inserting a watermark with a well-known technique. If a visually recognizable watermark is inserted, the embedded watermark can be removed using an image processing program, so it is preferable to insert a visually unrecognizable watermark.

In addition, the server 50 stores the uploaded sound source and a choreography video for each part of the sound source (eg, a choreography video with a watermark inserted) in the database 40 .

In addition, the server 50 transmits a choreography video for each part of the uploaded sound source (eg, a choreography video with a watermark inserted) to the corresponding producer terminal 10 . This is to allow the content creator to directly select the choreography video for each part for the sound source uploaded by the producer terminal 10 .

In addition, the server 50 stores information (ie, choreography selection information) according to the content producer selecting one or more desired choreography videos for each part in the database 40 . At this time, according to the design, the server 50 selects one or more choreography videos desired by the content creator for each part and determines the choreography of all parts for one sound source, the selected one or more choreography videos sequentially for each part The interface may be configured to be connected to and combined into information made into one moving picture (ie, final choreography selection information). In addition, the final choreography selection information completed by the content creator may be displayed on the producer terminal 10 and stored in the database 40 .

Then, the server 50 generates choreography matching data corresponding to the sound source that is the corresponding choreography production target based on the choreography selection information and the final choreography selection information and stores it in the database 40 .

In addition, the server 50 provides a choreography content service based on the choreography matching data stored in the database 40 . Here, the provision of choreography content service means that when one choreography video is selected for each part in the sound source that is the target of choreography, choreography content based on the choreography matching data for the sound source generated based on this is sent to the content creator. can In addition, the provision of choreography content service means that choreography content based on choreography matching data is provided online (eg, TikTok, Instagram, YouTube, etc.) through the SNS account of the content creator, choreographer, or general user. can mean Of course, when a content creator, choreographer, or general user uploads his dance video that he or she follows after watching online choreography content to the server 50, the server 50 sends it to the content creator, choreographer or general user through the SNS account of the content creator, choreographer, or general user. Providing online (eg, TikTok, Instagram, YouTube, etc.) is also a choreography content service provision. In addition, when uploading a video of one's own dance followed by watching online choreography content to the server 50, it is preferable to also upload information indicating whose choreography video was watched and followed. This is to easily identify the first choreographer and to be reflected in future profit distribution.

This is because the provision of the choreography content service is to make the management of the server 50 easier, and in this way, tracking (ie, tracking) of the choreography video search, selection, sharing, delivery, etc. is easier and more accurate. In addition, if tracking of inquiry, selection, sharing, delivery, etc. of choreography video is made easier and more accurate, revenue distribution and payment to the choreographer who created the choreography will be more accurate in the future. This will maximize the satisfaction of the choreographer.

As described above, the choreography content service is other than a service that provides choreography content based on choreography matching data for sound sources, combined content creation service based on choreography matching data and sound sources, and dance influencer choreography using choreography matching data and sound sources. Database management and copyright revenue distribution service including content creation service, learning service based on choreography matching data and sound source data, learning service based on choreography matching data and sound source data, and lecture content production service based on choreography matching data and sound source data may include Here, the combined content may mean combining one or more optimal choreography videos (that is, choreography content) for each part in the uploaded sound source.

The above-described server 50 may be called a platform server.

Although the database 40 and the server 50 are configured separately in FIG. 1 described above, the database 40 may be included in the server 50 if necessary.

FIG. 2 is an internal configuration diagram of the server 50 shown in FIG. 1 .

The server 50 may include a receiving unit 51 , a database management unit 52 , a transmitting unit 53 , a watermark insertion unit 54 , a tracking information processing unit 56 , a settlement unit 57 , and a control unit 58 . can

The receiver 51 receives user activity information according to the use of the service platform from the user terminal (ie, one or more of the producer terminal 10 , the choreographer terminal 20 , and the general user terminal 70 ). The user activity information includes sound source registration information, member registration information, choreography selection information (eg, information indicating that a choreography video has been selected), choreography inquiry information (eg, information indicating that a choreography video has been viewed), choreography sharing information (eg, , information indicating that the choreography video has been shared), choreography delivery information (eg, information indicating that the choreography video has been delivered), and choreography evaluation information (eg, comments such as likes and dislikes), and the like.

In addition, the receiver 51 receives the choreography video from the user terminal (eg, the choreographer terminal 20), and receives user activity information according to the selection of one or more desired choreography videos for each part of the sound source.

The database management unit 52 manages the storage of various types of information in the database 40 and updating of the stored information.

The transmitter 53 transmits the sound source received from the receiver 51 to the terminals 20 of all choreographers registered as members, or transmits a message notifying that the sound source has been uploaded to the terminals 20 of all choreographers registered as members. can Here, the member-registered choreographer is a choreographer registered as a member in the server 50 and may mean a choreographer with choreography creation ability. You can register as a choreographer. For example, a content creator or general user having the ability to create choreography may mean a person who has experience in creating their own choreography at least once.

The transmitter 53 transmits one or more choreography videos for each part of the sound source to the user terminal (eg, the producer terminal 10). Since several choreographers can create their own choreography for each part of the sound source and upload a choreography video, the content creator who has requested the choreography needs to choose the choreography they like for each part in the sound source. Accordingly, in order to make a selection, the transmitter 53 transmits one or more choreography videos for each part of the sound source to the producer terminal 10 .

In addition, the transmitter 53 may transmit the choreography content based on the choreography matching data for the sound source to the corresponding user terminal (eg, the producer terminal 10 ).

And, when there is a user's request for choreography inquiry, choreography selection, choreography sharing, choreography delivery, etc. for any choreography video, the transmitter 53 sends the corresponding choreography video to the user under the control of the controller 58. send

The watermark insertion unit 54 inserts a watermark into the choreography video received by the receiving unit 51 . For example, if it is assumed that the sound source consists of three parts and two choreography videos are uploaded for each part, the watermark insertion unit 54 is visually recognized in order to protect the choreography copyright for each choreography video. Insert a watermark that cannot be done. In this case, the watermark may include information indicating which choreographer's choreography video for each choreography video. Here, it is believed that those who work in the same industry can fully understand a method of inserting a watermark with well-known techniques. If a visually recognizable watermark is inserted, the embedded watermark can be removed using an image processing program. desirable.

As a result, the choreography video into which the watermark is inserted by the watermark insertion unit 54 is stored in the database 40 . The choreography video received by the above-described receiver 51 and the choreography video in which the watermark is inserted may be referred to as choreography content, respectively.

When the watermark insertion unit 54 inserts a watermark for each choreography video, the control unit 58 matches the information indicating the characteristics of the watermark for each choreography video or the pattern of the watermark with the corresponding choreographer to the database management unit. It is stored in the database 40 through (52).

The tracking information processing unit 56 processes the tracking information of the choreography video for which the choreography inquiry is requested based on the user activity information received from the receiving unit 51 . For example, the tracking information processing unit 56 may or may determine the number of views based on the time of inquiring the choreography video.

If necessary, the tracking information processing unit 56 may determine the first upload time of the choreography video uploaded to the database 40 .

In addition, the tracking information processing unit 56 determines the number of times the choreography video is shared with others, the number of times the choreography video is shared with others, the number of times the choreography video is selected based on the signal received by the receiver 51, and the like You can (calculate). That is, the tracking information processing unit 56 may determine the number of times of sharing, the number of times of delivery, the number of selections, etc. based on the time when the choreography video is shared, the time of delivery, and the selected time.

In addition, the tracking information processing unit 56 is based on the information (eg, choreography evaluation information) received from the receiving unit 51, the number of first evaluation (eg, like) and second evaluation (eg, dislike) for each choreography video. can be judged (calculated). That is, the tracking information processing unit 56 may determine the number of the first evaluation and the second evaluation based on the evaluation time of the choreography video.

The above-described receiving unit 51 receives tracking information such as choreography selection information, choreography inquiry information, choreography sharing information, choreography delivery information, and choreography evaluation information in real time, and the tracking information processing unit 56 receives the above information for each choreography video The sum of these values can be calculated accurately. That is, the tracking information processing unit 56 tracks the information included in the tracking information for each choreography video (eg, the number of choreography selections, the number of choreography inquiries, the number of choreography sharing, the number of choreography delivery times, and choreography evaluation information, etc.) It is possible to output the total number of hits (that is, the sum of the tracking information). Here, the total number of views by choreography video is the sum of the number of choreography selections, choreography views, choreography sharing, choreography delivery, and choreography evaluation information (that is, the number of evaluations of good choreography) for each choreography video. can mean For example, the greater the sum of the tracking information for the choreography video A, the greater the revenue paid to the choreographer who created the choreography video A.

The control unit 58 may not only grasp the most popular best choreography based on the result determined by the tracking information processing unit 56, but may also grasp the best part (also referred to as a point part) in the entire choreography area of the sound source.

In addition, the settlement unit 57 may calculate a payment cost for the choreographer corresponding to the choreographer-specific information based on the tracking information and the choreography matching data. More specifically, the settlement unit 57 distributes and pays revenue to the choreographer who created the choreography video based on the result of the tracking information processing unit 56 (eg, the sum of the number of views for each choreography video) You can settle the cost. Since member registration information (eg, including the choreographer's bank account number) is stored in the database 40 , the settlement unit 57 may pay a profit through the choreographer's bank account number. In the end, the more well-received the choreography, the more revenue will be paid to the choreographer.

For example, as the number of selections, views, sharing, delivery, and evaluation of good content for a choreography video increases, it may mean that the choreography video is more popular. It is possible to pay the choreographer a profit by calculating the payment cost.

For example, the settlement unit 57 may calculate the contribution ratio of the choreography video to the revenue generated from the content of the advertiser according to the choreography matching data and the tracking information.

More specifically, the calculation unit 57 multiplies the ratio of parts corresponding to the choreography unique information of 1 to n choreographers among the sound sources included in the choreography content by the total ratio based on the choreography matching data. It can be settled by the ratio of the profit to be paid to 1 to n choreographers.

Then, the settlement unit 57 multiplies the revenue ratio of the 1 to n choreographers by the advertising revenue of the choreography content calculated according to the tracking information to calculate the final cost to be paid to 1 to n choreographers. and the choreographer may pay the final cost to 1 to n accounts.

Also, for example, even when 1 to n choreographers view and follow a choreography video of another choreographer and upload the choreography to the server 50 , the tracking information processing unit 56 includes 1 to n choreographers and other choreographers. You can see when a video was viewed, shared, or delivered. Accordingly, even if there is controversy over the creation of the choreography, the tracking information processing unit 56 can accurately identify the creator of the first choreography through the first uploaded time point of the corresponding choreography video, the view/share/delivery time, etc. Due to this, the settlement unit 57 can more accurately distribute and pay the revenue to the choreographer, and the service reliability and satisfaction of the choreographer will be improved.

The settlement unit 57 may distribute and pay revenue whenever revenue is generated, or may distribute and pay revenue when a preset revenue distribution time comes. The profit distribution/payment method in the settlement unit 57 may vary.

The control unit 58 controls the overall operation of the server 50 .

In particular, the control unit 58 determines the number of choreography selections according to choreography selection/inquiry/share/delivery for each uploaded choreography video (that is, a choreography video with a watermark inserted), the number of choreography views, the number of choreography sharing, and the number of choreography delivery. Together, tracking information is generated based on choreography evaluation information and the like and stored in the database 40, and the stored tracking information is managed.

Also, the controller 58 may generate choreography matching data corresponding to the sound source and store it in the database 40 through the database manager 52 . Here, as described above, the choreography matching data includes analysis information of the corresponding sound source (eg, information analyzed by genre and characteristics), choreographer identification information for each part in the corresponding sound source, and part information in the sound source (eg, choreography video identification information of the corresponding part). etc.), and time section information (eg, time section information occupied by each part in the sound source), and the like.

That is, if the user selects a choreography video for all parts of the sound source, the controller 58 analyzes the genre and characteristics of the sound source and the characteristics of each part of the sound source, and identifies the choreographer identification information for each part in the sound source. Then, the control unit 58 grasps the identification information of the choreography video selected for each part in the sound source, the time period occupied by each part in the sound source, and the like. Here, the genre and characteristics of the sound source can be analyzed through a simple description of the sound source input from the user terminal (eg, the producer terminal 10). The characteristics of each part of the sound source can be analyzed through the characteristic information of each part of the sound source input from the user terminal (eg, the producer terminal 10). The choreographer identification information for each part in the sound source can be identified through the choreographer information on the choreography video for each sound source part input from the user terminal (eg, the choreographer terminal 20). The identification information of the choreography video selected for each part in the sound source can be identified through information indicating the characteristics of the watermark for each choreography video stored in the database 40 or the pattern of the watermark. The time section occupied by each part in the sound source can be grasped through the time section information stored in the database 40 . Accordingly, the control unit 58 may generate choreography matching data corresponding to the sound source.

Then, the controller 58 sends the choreography content based on the choreography matching data to the corresponding user terminal (eg, the producer terminal 10) through the transmitter 53, or the SNS of the content creator, choreographer, or general user. It can be provided online (eg, TikTok, Instagram, YouTube, etc.) through an account.

Since the above-described control unit 58 can store and manage the choreography matching data and tracking information in the database 40, the settlement unit 57 later distributes revenue to the choreographer through the choreography matching data and/or tracking information and Payments will be made more accurately.

In addition, as the number of selections, views, sharing, delivery, and evaluation of good content for a choreography video increases, it may mean that the choreography video is more popular, so the control unit 58 controls such choreography matching data and tracking information. It is possible to fully understand which popular choreography videos are and who the creators (ie, choreographers) of the popular choreography videos are.

On the other hand, the control unit 58 controls the provision of corresponding additional services (eg, choreography inquiry service, dance lecture service, etc.) according to various requests from the general user terminal 70 based on the choreography videos in the database 40 . can do.

Meanwhile, the controller 58 may control an optimal choreographer recommendation according to a choreographer recommendation request from the producer terminal 10 based on the choreography videos in the database 40 .

3 is a flowchart illustrating generation and management of tracking information in a method for providing a choreography content service according to an embodiment of the present invention.

First, a user (eg, a choreographer) operates his/her terminal 20 to access the server 50 and then registers as a member ( S100 ). For example, when registering as a member, the choreographer's SNS account information, name, date of birth, ID, password, creative choreography genre, bank account number, etc. are registered. As described above, content creators and general users can also register as choreographers.

In this way, in a state where a plurality of choreographers are registered as members in the server 50 , a user (eg, a content producer) operates his/her terminal 10 to upload a sound source to the server 50 through the network 30 . (S110). Here, the sound source means a pure sound source itself without choreography combined, and the producer terminal 10 requests that the sound source produce a suitable choreography when uploading the sound source.

The sound source may be segmented into a plurality of parts by the content creator, and at the server 50 end, the audio spectrum, fade-in, fade-out, lyrics processing of vocals, target rhythm, rhyme or accompanying It can be automatically segmented through at least one or more methods such as accompaniment and the pitch modified according to the score or note sequence.

In addition, when the producer terminal 10 uploads a sound source, a separate interface may be added so that the producer requests the choreographer he usually prefers to produce the choreography. The process of selecting a choreographer that a producer usually prefers can be performed through the following process. First, the interface is configured so that the producer directly searches for and selects choreographers, ordinary people, singers, influencers, etc. who have signed up for membership through the server 50 of the choreography content service providing device and sends a message to request choreography production. In addition, when the producer selects a choreography video provided by choreographers later or when a specific choreographer's choreography video is viewed multiple times, the number of choreography video selections and high-viewed choreographer and choreography video selections through tracking from the server 50 and an interface that automatically recommends multiple choreographers who use choreographers with similar choreography styles to high-viewed choreography videos, so the producer can send a message to the choreographers to request choreography.

The server 50 notifies the terminals 20 of all choreographers registered as members that the sound source (ie, the sound source segmented into multiple parts) has been uploaded (S120).

At this time, when the choreographer receives the sound source from the terminal 20, the sound source can be received by receiving the sound source registered in the server 50 or by receiving the choreography production request message personally received from the producer terminal 10. .

Accordingly, after checking the sound source, the choreographers create a choreography for a desired part and upload the corresponding choreography video to the server 50 (S130). In this case, it is preferable that information that allows the user to check whose choreography video is uploaded is also uploaded.

Next, the server 50 inserts a watermark into the uploaded choreography video for each part (S140). For example, if it is assumed that the sound source consists of three parts and two choreography videos are uploaded for each part, the server 50 cannot visually recognize the choreography copyright for each choreography video. Insert a watermark. In this case, the watermark may include information indicating which choreographer's choreography video for each choreography video.

Then, the server 50 stores one or more choreography videos (that is, videos with watermarks inserted) for each part of the sound source in the database 40 (S150).

Thereafter, the server 50 receives, in real time, a choreography selection signal, a choreography inquiry signal, a choreography sharing signal, a choreography transmission signal, and choreography evaluation information from the user terminal for each choreography video in which the watermark is embedded ( S160 ).

Then, the server 50 uses the received signal and information as information included in the tracking information for the corresponding choreography video (or the corresponding choreographer), and manages the sum of the number of tracking information for each choreography video in real time ( S170). For example, the server 50 sums the number of choreography evaluation information such as the number of choreography selections, the number of choreography inquiries, the number of choreography sharing, the number of choreography transmissions, and likes for each choreography video in which the watermark is embedded in real time. Then, the server 50 stores the summed value in the database 40 . Here, the sum value stored in the database 40 is updatable.

Thereafter, as the number of choreographer selection, inquiry, sharing, and delivery increases, more revenue can be distributed and paid to the choreographer. For example, in the case of revenue payment, the revenue distribution unit 57 of the server 50 multiplies the contribution ratio of the choreography video to the revenue generated from the advertiser's content according to the tracking information. It can be determined by the profit, and the determined profit can be paid to the choreographer's bank account number.

4 is a flowchart for explaining a method of providing a choreography content service according to an embodiment of the present invention, and FIGS. 5 and 6 are examples of screens employed in the description of FIG. 4 .

First, a user (eg, a choreographer) operates his/her terminal 20 to access the server 50 and then registers as a member (S10). For example, when registering as a member, the choreographer's SNS account information, name, date of birth, ID, password, creative choreography genre, bank account number, etc. are registered. As described above, content creators and general users can also register as choreographers.

In this way, in a state where a plurality of choreographers are registered as members in the server 50 , a user (eg, a content producer) operates his/her terminal 10 to upload a sound source to the server 50 through the network 30 . (S12). Here, the sound source means a pure sound source itself without choreography combined, and the producer terminal 10 requests that the sound source produce a suitable choreography when uploading the sound source.

The server 50 transmits the received sound source (ie, the sound source segmented into multiple parts) to the terminals 20 of all choreographers registered as members (S14), or the sound source (ie, sound source segmented into multiple parts) ) is uploaded to the terminals 20 of all choreographers registered as members. Here, when transmitting the sound source, which is the target of choreography, to the terminals 20 of all choreographers registered as members, the server 50 sends a request to create a choreography for a desired part among the parts in the sound source and upload a video together. .

In this case, the sound source may be segmented into a plurality of parts by the content creator, and at the server 50 end, audio spectrum, fade-in, fade-out, vocal processing, target rhythm, rhyme, or It can be automatically segmented through at least one of the accompanying accompaniment and the pitch modified according to the score or note sequence.

In addition, when the producer terminal 10 uploads a sound source, a separate interface may be added so that the producer requests the choreographer he usually prefers to produce the choreography. The process of selecting a choreographer that a producer usually prefers can be performed through the following process. First, the interface is configured so that the producer directly searches for and selects choreographers, ordinary people, singers, influencers, etc. who have signed up for membership through the server 50 of the choreography content service providing device and sends a message to request choreography production. In addition, when the producer selects a choreography video provided by choreographers later or when a specific choreographer's choreography video is viewed multiple times, the number of choreography video selections and high-viewed choreographer and choreography video selections through tracking from the server 50 and an interface that automatically recommends multiple choreographers who use choreographers with similar choreography styles to high-viewed choreography videos, so the producer can send a message to the choreographers to request choreography.

Accordingly, the choreographers receive the sound source registered in the server 50 through the choreographer terminal 20, or receive a choreography production request message received personally from the producer terminal 10, check the sound source, and ask for the desired part. A choreography is created and a corresponding choreography video is uploaded to the server 50 (S16). At this time, information that allows you to check whose choreography video is uploaded is also uploaded.

Next, the server 50 inserts a watermark into the uploaded choreography video for each part (S18). For example, if it is assumed that the sound source consists of three parts and two choreography videos are uploaded for each part, the server 50 cannot visually recognize the choreography copyright for each choreography video. Insert a watermark. In this case, the watermark may include information indicating which choreographer's choreography video for each choreography video.

Then, the server 50 stores (S20) one or more choreography videos for each part of the corresponding sound source (that is, a video with a watermark inserted) in the database 40 (S20), and then one or more choreography videos for each part of the sound source (that is, , a watermark-inserted video) is transmitted to the terminal 10 of the user (eg, content creator) (S22).

Thereafter, the content creator selects a desired choreography video for each part in the sound source (S24). For example, it is assumed that a sound source (eg, Trippin) is segmented into five parts (part A, part B, part C, part D, and part E) as shown in FIG. 5 . In this state, when the content creator clicks the part A area 60 in FIG. 5 to select a desired choreography video for the part A, the content creator's terminal 10 displays an interface screen as shown in FIG. is displayed. The interface screen of FIG. 6 shows that 4 choreography videos for Part A (that is, 4 choreography videos are uploaded for Part A) are optional, and after the content creator checks each of the 4 choreography videos, Choose one or more choreography videos that you like. Accordingly, information corresponding to the selection of a desired choreography video is transmitted from the terminal 10 of the corresponding content producer to the server 50 .

The server 50 stores information on selecting one or more desired choreography videos for each part of the sound source (that is, choreography selection information) in the database 40 (S26). That is, as one or more desired choreography videos are selected for each part of the sound source, it can be understood that the choreography of all parts for one sound source is determined.

At this time, according to the design, the server 50 selects one or more choreography videos desired by the content creator for each part and determines the choreography of all parts for one sound source, the selected one or more choreography videos sequentially for each part The interface may be configured to be connected to information (ie, final choreography content) made into one moving picture. In addition, the final choreography content completed by the content creator may be displayed on the producer terminal 10 and stored in the database 40 .

Thereafter, the server 50 generates choreography matching data corresponding to the corresponding sound source based on the choreography selection information (S28). Here, the choreography matching data includes analysis information of the corresponding sound source (eg, information analyzed by genre and characteristics), choreographer identification information for each part in the corresponding sound source, part information in the sound source (eg, choreography video identification information of the corresponding part, etc.), and Time section information (eg, time section information occupied by each part in the sound source) may be included.

Then, after storing the choreography matching data in the database 40, the server 50 provides a choreography content service based on the choreography matching data (S30). That is, the server 50 transmits the choreography content for the sound source from the content producer (ie, choreography content based on choreography matching data) to the terminal 10 of the content producer or through the content creator's SNS account. It can be provided online (eg, TikTok, Instagram, YouTube, etc.). Of course, if necessary, the server 50 may store the choreography content in the database 40 .

Accordingly, the stored choreography content may be shared service to user terminals through the service platform of the server 50 . In addition, other content creators or other choreographers or other general users will learn online choreography by watching and following the choreography. In addition, the choreography video followed by other content creators or other choreographers or other general users can be viewed online (eg, TikTok, Instagram gram, YouTube, etc.), and the server 50 collects, stores and manages tracking information of the corresponding choreography video, and can be used for choreographer cost settlement based on the choreography matching data.

The apparatus and method for providing a choreography content service according to an embodiment of the present invention as described above can be sufficiently utilized for distribution/payment of profits to choreographers in connection with choreography copyright. In addition, it may be utilized for a choreography recommendation service that recommends an optimal choreography by learning based on data in the database 40 .

In addition, the above-described method for providing a choreography content service of the present invention can be implemented as computer-readable codes on a computer-readable recording medium. The computer-readable recording medium includes all kinds of recording devices in which data readable by a computer system is stored. Examples of the computer-readable recording medium include ROM, RAM, CD-ROM, magnetic tape, floppy disk, and optical data storage device. In addition, the computer-readable recording medium is distributed in a computer system connected through a network, so that the computer-readable code can be stored and executed in a distributed manner. In addition, functional programs, codes, and code segments for implementing the method can be easily inferred by programmers in the art to which the present invention pertains.

As described above, the best embodiment has been disclosed in the drawings and the specification. Although specific terms are used herein, they are used only for the purpose of describing the present invention and are not used to limit the meaning or the scope of the present invention described in the claims. Therefore, it will be understood by those skilled in the art that various modifications and equivalent other embodiments are possible therefrom. Accordingly, the true technical protection scope of the present invention should be defined by the technical spirit of the appended claims.

10: producer terminal 20: choreographer terminal
30: network 40: database
50: server 51: receiver
52: database management unit 53: transmission unit
54: watermark insertion unit 56: tracking information processing unit
57: settlement unit 58: control unit
70: general user terminal

Claims (9)

A method for a choreography content service providing device to provide a choreography content service,
uploading one or more choreography contents corresponding to a sound source and sharing it on a service platform;
generating choreography matching data including choreographer-specific information corresponding to the choreography content according to a user input corresponding to the service platform;
generating tracking information based on user activity for each choreography content for which the choreography matching data is generated;
storing and managing the tracking information and the choreography matching data; and
Comprising: based on the tracking information and the choreography matching data, the payment cost to the choreographer corresponding to the choreographer-specific information;
The settlement step is,
A method for providing a choreography content service, characterized in that the ratio of the contribution of the choreography content to the revenue generated from the content of the advertiser is calculated according to the choreography matching data and the tracking information. The method of claim 1,
The tracking information is
one or more of choreographer-specific information corresponding to the choreography content, choreography contribution information corresponding to the choreographer-specific information, choreography selection information for each choreography content, choreography inquiry information, choreography sharing information, choreography delivery information, and choreography evaluation information A method of providing a choreography content service comprising the above. The method of claim 1,
The choreography matching data includes analysis information of the sound source, choreographer identification information for each part in the sound source, part information in the sound source, and time section information. The method of claim 1,
The sound source is
A method for providing a choreography content service, characterized in that at least the introductory part, the chorus part, and the main part are segmented into unit sound source parts, or at least 4 seconds to n seconds of unit sound source parts are segmented. The method of claim 1,
Before the step of uploading one or more choreography contents corresponding to the sound source and sharing it on the service platform,
through at least one or more of the following methods: audio spectrum, fade-in, fade-out, vocal lyric processing, target rhythm, rhyme or accompanying accompaniment and pitch modified according to score or note sequence. Choreography content service providing method, characterized in that it further comprises the step of segmentation processing. The method of claim 1,
a receiving step of receiving one or more choreography contents corresponding to the sound source, and receiving user activity information in the service platform for each choreography content for which the choreography matching data is generated; and
Further comprising a watermark insertion step of inserting a watermark into the choreography content received in the receiving step,
The choreography content is provided based on the choreography matching data, and one or more information among selection, inquiry, sharing, delivery, and evaluation information included in the user activity information for each choreography content in which the watermark is embedded is read. A method for providing a choreography content service, characterized in that the tracking information is stored in the database. 7. The method of claim 6,
After storing and managing the tracking information and the choreography matching data,
The best choreography video and best choreographer extracted through the choreography matching data and tracking information are recommended to users and each user selects, inquires, shares, and delivers a specific choreography video and a specific choreographer so that each user can understand each user's individual taste. When positive feedback is left, collecting it as tracking information and recommending a choreography video and choreographer having a style similar to the tracking information of the user. The method of claim 1,
The settlement step is,
Based on the choreography matching data, a value calculated by multiplying the ratio of parts corresponding to the choreography unique information of 1 to n choreographers among the sound sources included in the choreography content by the total ratio should be paid to 1 to n choreographers Settling with a profit ratio; and
Calculating the final cost to be paid to 1 to n choreographers by multiplying the profit ratio of the 1 to n choreographers by the advertisement revenue of the choreography content calculated according to the tracking information; How to provide choreography content service. 9. The method of claim 8,
The settlement step is,
The choreography content service providing method further comprising; paying the final cost to the account of one to n choreographers.

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