Earticle

본 논문은 가상스튜디오 배경인 크로마 스튜디오 구성 방안에 따른 크로마키잉 결과에 대한 비교 분석한 논문이다. 본 논문에서는 현재 가상스튜디오의 구현에 적용되고 있는 일반적인 방법들을 서로 비교하여 가상스튜디오를 이용한 제작 상황에 맞게 크로마키 촬영 환경을 구성하고자 하는데 도움이 될 수 있도록 비교 분석하여 연구하였다. 본 논문의 연구 방안을 위해 같은 오브젝트를 같은 환경 하에서 가상스튜디오의 크로마키잉 작업이 쉽게 구현될 수 있는 배경 구성 물질을 찾아보고자 연구하였으며, 그 결과 같은 조명 상황에서 크로매트 환경에서의 크로마키잉 작업이 보다 수월하게 구현된다는 결론을 얻을 수 있었다.

In this paper we have compared three materials which are used for background chromakey in virtual studio. Each material reflects the illumination in different ways. In our experimental comparison, the 'chromatte' have the best quality in making good background image. Without predetermined light condition, chromatte provides wide range of adaptability.

현대에 들어 디지털 기술의 발달은 급속도로 발전했고 그에 따른 새로운 미디어들의 출현도 우리들에게 있어 더 이상 새로운 일이 아니다. 본 논문이 작성되고 있는 이 순간에도 많은 미디어의 아톰(Atom)은 비트(Bit)로 변하고 있다.뉴 미디어는 영상제작 기술에도 많은 영향을 가져왔다. 그 대표적인 예로 버추얼 스튜디오에서 제작된 버추얼 스페이스와 가상현실(V.R.)을 들 수 있다. 최근 들어 영화, 방송, 광고 등 수많은 영상 물 제작에 있어 컴퓨터 그래픽을 활용하면서 실제로 구현하기 힘들거나 불가능한 것들을 가능하게 하고 있다. 실제 현존하는 공간의 한계를 넘어 확장된 공간을 재현 하고 있다. 이는 모두 디지털 기술의 발달에 따른 것이다.국내 다양한 방송 프로그램 중 오랜 기간 같은 형식을 유지해오던 일기예보 프로그램도 최근 들어 새롭게 변하고 있다. 버추얼 스튜디오를 활용하면서 기존 일기예보 프로그램을 리미디에이션(Remediation)하고 있다. 즉 기존 일기예보의 평면적인 2차원 공간을 디지털 기술을 활용하여 3차원으로 공간을 확장시키고 있는 것이다. 리미디에이션(Remediation)이란 인문학자 Jay David Bolter와 Richard Grusin이 1999년에 제시한 논리로 뉴 미디어의 현상을 이미디어시(Immediacy)와 하이퍼미디어시(Hypermediacy)의 특성을 들어 기존의 올드 미디어를 새로운 뉴 미디어로 Refashion하는 것으로 정의했다. 크로마 키(Chroma key)를 이용한 버추얼 스튜디오와 컴퓨터 그래픽으로 구현된 3차원 공간의 일기예보 프로그램이 바로 기존의 평면적인 일기예보 프로그램을 Refashion한 것이다. 국내에 새롭게 방영되고 있는 일기예보 프로그램을 Immediacy와 Hypermediacy의 관점에서 리미디에이션의 현상을 비교하여 분석하고자 한다.

In the modern times, digital technology has been rapidly developed, and the consequent introduction of new media is no more a new phenomenon to us. Even at this point in time this thesis is executed, atoms of many medias are being changed into beats.New media has substantial impacts on image production technology. Virtual space as manufactured at virtual studio is the representative example. What had been difficult or impossible to develop as a practical matter became possible as computer graphics is recently being employed in producing various image objects of movies, broadcast, and advertisement. Enlarged space is being developed, going beyond the actually existing limits of space. These all resulted from developments in digital technology. Weather forecast program is being newly changed as of now, which has been for a long time maintained as the same type of various domestic broadcast programs. The prior weather forecast program is being remediated by employing virtual studio. In other words, two-dimensional space of the prior weather forecast is being enlarged into three-dimensional space by employing digital technology. As the logic Jay David Bolter and Richard Grusin suggested in 1999, remediation is to refashion prior old media into new media by taking the characteristics of Immediacy and Hypermediacy as the phenomena of new media.Three-dimensional weather forecast program that is developed as the virtual studio that uses chroma-key and the computer graphics is the one to refashion the prior flat weather forecast program.This thesis seeks to analyze weather forecast programs that are newly broadcast in the domestic market by comparing remediation phenomena from the perspectives of Immediacy and Hypermediacy.

선거방송은 1990년대 중반부터 가상스튜디오를 활용하기 시작했다. 1996년 SBS의 ‘버추얼스튜디오’는 세 계 최초로 가상스튜디오를 도입한 한국 방송 기술의 혁신으로 평가받고 있다. 그러나 이전에도 KBS와 MBC에서가 상스튜디오라고 명명하고 선거방송에 활용한 사례가 있다. 선거방송에서 가상스튜디오를 포함한 CG(Computer Graphics) 사례 연구는 2000년대 이후에는 다양하게 진행됐으나 초기(2000년대 전) 연구는 미흡한 실정이다. 따 라서 이 논문은 실제로 가상스튜디오를 이용하기 시작한 1990년대의 중반의 사례를 분석하여, 기존의 연구를 보완 하였다. 1995년에 스모키(KBS), 매직 Ⅱ(MBC) 기술로 시작하여, 가상스튜디오의 초기 모델을 제시하였고, 이후 SBS의 가상스튜디오와 함께 각 방송사는 드림스튜디오(KBS), Space 21 스튜디오(MBC)라는 이름으로 발전하게 되었다. 분석 결과 선거방송은 데이터와 당선 예측을 보여주던 도표에서 가상스튜디오의 도입을 기점으로 선거방송 이 스토리를 구성하게 되는 계기가 되었다는 것을 알게 되었다. 이 논문은 초기 가상스튜디오의 가치를 다루는 역사 연구의 한 형태로써 미디어가 발전하는 한 형태인 재매개의 과정을 살펴보는 데 의의가 있다.

The election broadcast began utilizing virtual studios in the mid-1990s. In 1996, SBS's virtual studio was evaluated as an innovation in Korean broadcasting technology that introduced the world's first virtual studio. However, there have been cases where KBS and MBC named it a virtual studio and used it for election broadcasting. Various CG (Computer Graphics) case studies of election broadcasting have been conducted since the 2000s, but the initial research is inadequate. Therefore, this paper complements existing research by analyzing the cases of the mid-1990s when they actually started using virtual studios. Beginning with SMOCKEY (KBS) and MAGICⅡ (MBC) in 1995, we presented the initial model of the virtual studio, and then with SBS Virtual Studio, each broadcasting company evolved into the names Dream Studio (KBS) and Space 21 Studio (MBC). As a result of the analysis, it was found that the election broadcast is a chart showing the data and the winning prediction, and that the election broadcast was the trigger to compose the story based on the introduction of the virtual studio. It is a form of historical research dealing with the value of the early virtual studios in this paper. It is meaningful to see the process of Remediation.

현재 VR, AR, XR에 이어 메타버스(Metaverse)까지 기술의 발전과 함께 새로운 용어들은 넘쳐난다. 이처 럼 용어들이 생성될 때마다 사회는 신기술이라고 생각하며, 열광적으로 사용하는 경향이 있는데, 그 용어의 범주 를 제대로 이해하고 활용하는 데는 혼란이 있다. 이 논문에서는 1990년대 방송 CG(Computer Graphics) 기술 의 발전에 중요한 역할을 한 가상스튜디오에 대해 논의하여, 과거의 새로운 용어의 도입과 그 활용 방법에 관해 이야기하고자 한다. 그러므로 가상스튜디오가 도입될 시점을 기준으로 용어가 생성될 때마다 혼선과 정립 사이의 간극을 살펴보고, 도입기 제작 사례를 통해 과거 기점에서 신기술의 활용도를 분석한다. 이 논문은 재매개를 통해 표출되는 과거의 기술 발전 과정을 살펴봄으로써 현재 상황이 새로운 기술이 아니라 새로운 용어의 발현이라는 점, 다시 말해서 기술의 단계적 발전 중에 나타나는 현상이라고 주장하는 것이다.

Currently, new terms are overflowing with the development of technology from VR, AR, XR to Metaverse. Every time a term is generated in this way, society considers it a new technology and tends to use it enthusiastically, but there is confusion in correctly understanding and utilizing the category of the term. He would like to discuss the virtual studio that played an important role in the development of broadcasting CG (Computer Graphics) technology in the 1990s, and talk about the introduction of new terms in the past and how to use them. Therefore, this paper examines the gap between chaos and upright each time a term is generated based on the time when the virtual studio is introduced, and analyzes the utilization of new technology from the past through the introduction machine manufacturing case. By examining the past technological development processes expressed by remediation, this paper argues that the current situation is not a new technology but an expression of a new term, that is, a phenomenon that appears during the gradual development of technology. It is something to do.

This article takes the talk show "Beast Town" as an example to introduce the overall technical solution, technical difficulties and countermeasures for the combination of cartoon virtual characters and virtual studio technology, providing reference and experience for the multi-scenario application of digital humans. Compared with the live broadcast that combines reality and reality, we have further upgraded our virtual production technology and digital human-driven technology, adopted industry-leading real-time virtual production technology and monocular camera driving technology, and launched a virtual cartoon character talk show - "Beast Town" to achieve real Perfectly combined with virtuality, it further enhances program immersion and audio-visual experience, and expands infinite boundaries for virtual manufacturing. In the talk show, motion capture shooting technology is used for final picture synthesis. The virtual scene needs to present dynamic effects, and at the same time realize the driving of the digital human and the movement with the push, pull and pan of the overall picture. This puts forward very high requirements for multi-party data synchronization, real-time driving of digital people, and synthetic picture rendering. We focus on issues such as virtual and real data docking and monocular camera motion capture effects. We combine camera outward tracking, multi-scene picture perspective, multi-machine rendering and other solutions to effectively solve picture linkage and rendering quality problems in a deeply immersive space environment. , presenting users with visual effects of linkage between digital people and live guests.

Mixed Reality (MR) shows a composite image of a virtual object in the real world. It has been applied to various fields by the introduction of head mounted display (HMD) such as Microsoft's Hololens [1-3]. The virtual studio in broadcasting combines the contents created by computer graphics with the actual set to reproduce the 3D image screen. This requires physical space such as a set of chroma keys. It also requires professional knowledge and manpower and costly equipment to post-process the graphics and information for long periods of time. Therefore, in this paper, we aim to study the implementation of virtual studio based on Mixed Reality using Microsoft Hololens. Through the implementation of 'Holo-studio' application, realistic and virtual objects of broadcasting camera viewpoint were acquired at the same time. Using Microsoft's spectator view library, the frame rate is degraded in objects with high polygons (100,000 polygons). The proposed method maintains 60 fps image transmission in high polygon objects. The results of this paper show the possibility of using virtual studio at low cost which does not need separate physical space.

A virtual reality system using video image is designed and implemented. A participant having 2{{{{ { 1} over { 2} }}}}DOF can interact with the computer-generated virtual object using her/his full body posture and gesture in the 3D virtual environment. The system extracts the necessary participant-related information by video-based sensing, and simulates the realistic interaction such as collision detection in the virtual environment. The resulting scene obtained by compositing video image of the participant and virtual environment is updated in near real time.

Currently virtual studio has used the cromakey method in which an image is captured, and the blue portion of that image is replaced by a graphic image or a real image. The replaced image must be changed according to the camera motion. This paper proposes a novel method to extract camera parameters using the recognition of pentagonal patterns which are painted on the blue screen. The corresponding parameters are position, direction and focal length of the camera in the virtual studio. At first, pentagonal patterns are found using invariant features of the pentagon. Then, the projective transformation of two projected images and the camera parameters are calculated using the matched points. Simulation results indicate that camera parameters are more easily calculated compared to the conventional methods.

This paper is for investigation and analysis of how a visual studio is widely used by domestic broadcasting companies and broadcasting companies' production environment. The history of a visual studio goes back to start of computer graphic. A visual studio is a way to produce a program using graphic sets created by a computer rather than actual setting, and it allows to express beyond limitations of actual studio settings and various imagery visual effects can be created by a computer. A visual studio can create 3-dimensional graphic and these graphics can be inter-locked with actual camera images to make visual spaces for various programs. These flows are aiming to achieve very natural image which is hard to distinguish it is artificially created rather than just to produce programs with simple image synthesis, and this paper analyzes the producing changes of domestic broadcasting visual studios as well as its usage and suggests the idealist direction for developing the production.

Recently, user behavior simulation for atypical buildings is becoming increasingly important due to social demand. This provides an environment in which users can observe user’s behavior that is easily overlooked in the atypical architectural design process. It is necessary to reproduce social phenomena as well as reaction behaviors in an atypical physical space in order to construct a successful human behavior simulation for an atypical architectural space because the behavior of users in the architectural space entails a social response. Through previous research, ActoViz?which was developed to simulate user behavior in the atypical architecture-improved and human-shaped agents were developed to perform social interactions. ActoViz was evaluated positively in discovering creative problem findings of architects through the interaction between the designed atypical space and the agent in the previous study. However, it has not been revealed how social interaction in the designed atypical space affects creative problem findings. Therefore, this study is intended to examine how the automatic social interaction of agents in the atypical architectural design process affects creative problem findings. For this purpose, experiments and questionnaires were conducted to students in the Department of Architecture studio, and the analysis was performed. 35 undergraduate students participated in this experiment, it was conducted in a simulated human behavior atypical design process and a questionnaire. A paired-sample t-test was used to analyze the survey results. The experimental and questionnaire results found that social behavior simulation was statistically effective in designing a new atypical form, designing various functions, and designing an appropriate atypical form. The results of the experiments and questionnaires found that social behavior simulation was statistically effective in designing a new atypical form, designing various functions, and designing an appropriate atypical form.

The design procedure of atypical building is quite dissimilar from the conventional buildings because the architect must solve more problems than normal. Sometimes, they overlook the human factors which is the one of the most significant standard to evaluate the value of buildings. To solve this problem, simulation technology using virtual human-shaped agent(Virtual User) is recommended. Virtual users’ interactions like a real world in the process of architectural design can help designers come up with new ideas, so the behavior of virtual users significantly influences the design process and results. In other words, the virtual users’ adaptive behavior, which is more natural reaction to architectural geometry, is an significant factor for defining the value of human behavior simulations. In the previous study, the researchers developed a function that enables adaptive behavior by virtual agents in ActoViz. This function was developed to simulate human behavior during the design of atypical architectural spaces. However, the effect of adaptive behavior on the design process and the final design have not yet been investigated. Therefore, the present research aimed to evaluate the effect of virtual users’ autonomous adaptive behavior on creative problem finding during the design process. In this study, 35 students were asked to use ActoViz’s adaptive behavior function when designing an atypical space. The students then responded to a questionnaire about creative problem finding before and after using the function. The result of the survey showed that the adaptive behavior function helped designers create new shapes and identify more functions for their designs. This suggests that the adaptive behavior function helped designers develop new forms. The survey results also indicated that the adaptive behavior function helped designers identify problems in their designs, increasing their self-assurance in the designs’ safety and suitability. This is because the adaptive behavior function expresses the physical situation better than other behavior simulations.

In this paper, we introduce a novel virtual studio environment where a broadcaster in the virtual set interacts with tele-viewers as if they are sharing the same environment as participants. A tele-viewer participates physically in the virtual studio environment by a dummy-head equipped with video "eyes" and microphone "ears" physically located in the studio. The dummy head as a surrogate of the tole-viewer follows the tele-viewer's head movements and views and hears through the dummy head like a tele-operated robot. By introducing the tele-presence technology in the virtual studio setting, the broadcaster can not only interact with the virtual set elements like the regular virtual studio environment but also share the physical studio with the surrogates of the tele-viewers as participants. The tele-viewer may see the real broadcaster in the virtual set environment and other participants as avatars in place of their respective dummy heads. With an immersive display like HMD, the tele-viewer may look around the studio and interact with other avatars. The new interactive virtual studio with the immersive viewer environment may be applied to immersive tele-conferencing, tele-teaching, and interactive TV program productions.program productions.

최근 가상현실을 이용한 응용에 대한 수요가 증가하고 있다. 특히, 모션캡쳐 시스템을 이용해서 가상현실 공간상의 인체 캐릭터를 동작시킬 수 있는 콘텐츠는 교육용, 오락용등으로 활용 범위가 많다고 할 수 있다. 본 논문은 그래픽 3D 사물 객체, 3D 인체 캐릭터, 소리로 가상현실 공간을 구축할 수 있고, 모션캡쳐 장비로부터 실시간 획득되는 모션데이터를 이용해서 3D 인체 캐릭터를 동작시킬 수 있는 시스템 (가상스튜디오 시스템이라 부름)을 제안한다. 참고로, 우리의 조사에 의하면, 본 시스템과 같은 연구켤과는 거의 발견할 수 없었다. 본 시스템을 가상현실을 이용한 성경콘텐츠 제작에 활용해 본 결과 만족할 만한 성과를 얻었다.

본 논문에서는 방송국 그린 스튜디오에 서 있는 연기자와 CG로 표현되는 스페셜 이펙트(물, 불, 연기 등)와의 상호작용을 제공하는 시스템을 제안한다. 기존의 가상 스튜디오는 주로 CG 배경과 연기자 촬영 영상을 정합하는 방법에 초점을 맞추고 있다. 기존의 연구와 달리 본 논문에서는 실제 연기자와 상호작용하는 비주얼 이펙트를 시뮬레이션하는데 집중함으로써 TV 화면에서 새로운 영역을 표현하고자 한다. 연기자 동작에 비주얼 이펙트를 연동하기 위하여 깊이 카메라를 이용하여 연기자 동작을 추출한다. 이를 3차원 벡터 필드로 변환하고 Navier Stokes 방정식의 외력으로 적용하여 물, 불, 연기의 유체를 시뮬레이션한다. 특히, 물의 상호작용을 사실적으로 표현하기 위하여 물에 연동되는 스플레쉬의 상호작용도 함께 시뮬레이션하여 물이 등장하는 비주얼 이펙트의 사실감을 극대화시켰다. TV의 실시간 녹화를 지원하기 위하여 GPU 프로그래밍을 도입하여 VFX의 실시간 상호작용을 지원하는 기능도 추가하였다. 제안된 방법의 유용성은 물, 불, 연기, 바다 속 물고기 떼 등의 VFX 시뮬레이션과 연기자와의 상호작용 실험을 통하여 확인할 수 있었다.

In this paper, we presents visual effect(water, fire, smoke) simulation and interaction system for TV virtual studio. TV virtual studio seamlessly synthesizes CG background and a live performer standing on a TV green studio. Previous virtual studios focus on the registration of CG background and a performer in real world. In contrast to the previous systems, we can afford to make new types of TV scenes more easily by simulating interactive visual effects according to a performer. This requires the extraction of the performer motion to be transformed 3D vector field and simulate fluids by applying the vector field to Navier Stokes equation. To add realism to water VFX simulation and interaction, we also simulate the dynamic behavior of splashing fluids on the water surface. To provide real-time recording of TV programs, real-time VFX simulation and interaction is presented through a GPU programming. Experimental results show this system can be used practically for realizing water, fire, smoke VFX simulation and the dynamic behavior simulation of fish flocks inside ocean.

본 논문은 각 방송사에서 가상스튜디오를 활용하여 제작하고 있는 프로그램 사례에 대하여 조사 분석한 것이다. 방송사에서 프로그램을 제작 할 때 실제세트 대신 가상스튜디오를 활용하여 제작함으로써 시각적으로 표현의 한계를 넘어서고 있다. 이러한 흐름은 단순한 합성작업을 통한 방송 제작이 아니라 현실과 가상을 구별할 수 없을 정도로 자연스런 영상표현을 통해 보다 사실적이고 정교한 영상으로 진화하는 과정이다. 국내 가상스튜디오를 활용한 제작사례를 분석하여 가상스튜디오 제작에 대한 발전 방향을 제시하였다.

This thesis is the analysis of programing cases by which each broadcasting station generates visual studio. When the broadcasting stations make programs, they overcome the visual limitation of expression by using visual studio other than the real set. This trend is the progress toward more realistic and delicate image by almost perfect image expression, not just broadcasting production by mere synthesis operation. It suggests the development direction toward visual studio production by analyzing production cases using domestic visual studio.

In this paper we have compared three materials which are used for background in virtual studio. Each material reflects the illumination in different ways. In our experimental comparison, the 'chromatte' have the best quality in making good background image. Without predetermined light condition, chromatte provides wide range of adaptability.

가상스튜디오를 활용한 강의의 정보전달 효과를 확인하기 위해 실험연구를 실시하였다. 여러 가지 유형의 3D 배경 템플릿(교실배경/가상공간배경/강의주제배경)과 강의보조자료(강의자중심/텍스트중심/이미지중심)가 적용된 강의 콘텐츠가 실험 재료로 제작되었으며, 정보 전달 효과를 확인하기 위해 시선추적과 학습효과 분석을 실시하였다. 먼저 각막경계 반사법을 활용한 시선추적 기법을 통해 강의 영상의 주요 정지이미지를 바라보는 학습자들의 눈의 움직임, 즉 고정점과 탐색경로를 측정하였다. 학습자들의 시선이 특정영역에 머문 시간과 시선의 이동경로를 관찰함으로써 학습자들의 응시패턴과 관심영역을 확인할 수 있었다.이를 통해 화면 구성요소의 유형(강사, 강의보조자료, 3D 배경)과 위치에 따른 학습자들의 시선운동을 추적하여, 학습자의 시각적 정보처리과정과 강의화면 인터페이스(interface)의 사용성을 평가하였다. 또한 학습 과정 인지와 학습 성취도 및 만족도를 측정하여 학습자들의 학습 효과를 정량적으로 분석하였다. 강의화면의 주요 정지이미지의 시선추적 분석 결과, 가상스튜디오를 활용하여 제작된 강의영상을 학습자들이 시지각적으로 수용하게 되는 주요 패턴들을 발견할 수 있었다. 화면 구성요소의 유형과 위치가 학습자들의 집중도와 시선의 움직임에 영향을 미치는 것을 확인할 수 있었다. 학습 효과에 대한 분석 결과 3D 배경 템플릿의 유형이 사회적/인지적 수용성, 몰입, 흥미 등 학습 과정에 대한 인식에 유의미한 영향을 미치지 않았다. 그러나 강의 보조 자료의 유형은 학습 성취도에 영향을 미쳤는데, 텍스트중심의 자료를 적용했을 때 강의자중심이나 이미지중심의 자료보다 성취도가 높았다. 또한 학습 과정의 인지적 수용성과 흥미 인지 및 몰입 경험이 학습 성취도나 만족에 영향을 미치는 것으로 확인되었다. 이러한 연구 결과들이 가상스튜디오를 활용한 강의의 효율적 구성과 관련해서 어떤 함의를 지니는지 논의하고, 효과적인 정보전달을 위한 강의화면 구성 가이드라인을 제안하였다.

In order to investigate the effects of information transmission in lectures using a virtual studio, this research conducted experiments on eye movement and learning effects by developing three virtual lectures with various types of 3D background templates (classroom, cyberspace, lecture-theme) and different lecture materials viz. Text-focused, Lecturer focused, and Image-focused. First, learners’ eye movements were tracked by the Eyegaze System using the pupil-center/corneal-reflection method. Through analyzing learners’ eye-gaze patterns and areas of interest (AOIs) according to the types and positions of screen design elements (lecturer, lecture material, 3D background), this research identified the visual procedure of learners’ information process and evaluated usability of lecture screen interfaces. Then, learners’ learning effects were quantitatively analyzed through a survey on learning process perception, learning achievement, and learning satisfaction. By analyzing learners’ eye movement in viewing still images captured from three virtual lectures, learners’ visual perception patterns were revealed. The types and positions of screen design elements affected learners’ attention and eye-gaze directions. The survey on learning effects revealed that the types of 3D background templates did not make a significant influence on learning process perception which was measured by social presence, cognitive acceptance, flow, interest, etc. However, the types of lecture materials affected learning achievement. Text-focused lecture materials enhanced learning achievement more than lecturer-focused and image-focused ones. Learning achievement and satisfaction were also influenced by cognitive presence, interest cognition, and flow experience. Based on the major findings, this research discusses practical development of lecture materials in using virtual studio technologies and suggests screen-design guidelines for effective information transmission in lectures.