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Sensor signal
Wide-angle BG
render and FG
overlap module
output module
Cam3
Port
signal
Chrome-key module
Sens
Switcher
Cam2
FG
signal
Live video BG
render and FG
overlap module
LV collect module
Video
signal
output
Audio
signal
output
U-Set 3D
Graphics Server
Sync signal
Audio signal
Data stream
Port signal
Supplementary Information
renders the aperture virtual background and generates the virtual scene and mask
relations in accordance with the action of actual camera in real-time. Also it
completes the rendering of various 3D and 2D objects with different perspective
relations in each camera, and compose the foreground key with filling data
information. Besides, it needs to control the camera switching module; when the
virtual background switches to different views, it sends control signal to camera
switching module to switch to the corresponding foreground camera.
9 Audio collecting delay module: real-time audio collection in studio and output
with delay process, ensure the synchronization of video and audio signal in virtual
studio.
1.2
switchers, which are responsible for different angles of shooting, like the
foreground corresponding to the aperture virtual scene. Meanwhile, the camera
signals can be bound to any movement camera applied with CG tracking arithmetic,
achieving flexible camera shifting effect and extensive camera shooting range,
which greatly enriches the creating technology in virtual studio.
if the shadow of the person lacks in camera because of the blue-box or the
illumination, the traditional chroma-key can do nothing of it, which results in the
reality of the combination of actor and virtual scene greatly decreasing. Such
capability is far from achieving the requirement of virtual studio product and
program creating.
is able to add CG into virtual program and save the cost of downstream character
in other virtual studio. The character obtains all the features in U-CG character.
As for the users of the system with camera electro-mechanical sensor, we offer
the discrete 10U case, which includes all the ports on the panel in the back.
Front Panel of 10U Case
Keyboard
Net cable
Mouse
Studio Video
Signal Input
Audio signal
output after delay
YUV System
back panel
Cam1
Cam2
Cam3
Connect to VTR
and other collection
device
To
digital
monitor for
preview
2.2
Cam1
Cam2
Cam3
CCU2
CCU3
Mouse
Keyboard
CCU1
Monitor
To digital monitor
for preview
Audio
Port
I/O
Connect to collection
equipments like VTR
and non-linear editor
Cam1
Cam2
Cam3
CCU1
CCU2
CCU3
VGA
Monitor
Keyboard
Mouse
Connect to digital
monitor for preview
Connect to collection
equipments like VTR
and non-linear editor
3.1
program and display the main window. The Video mode is shown as following
Note: In U-Set 3D you can invoke the 3D scene created in 3DSMAX, Softimage and
Maya and set the size of the scenes to match the requirement of actual studio.
The main window consists of the following parts: pop-up menu module,
tools bar module, edit window, attribute setting window, resource manager
window, preview window and chroma-key setting window.
or Model
channel, the
channel;
complete the creating and editing of virtual live video in Live video
channel; complete creating and editing of model in Model
complete creating and editing of character in Character
channel;
channel.
Character mode
, Live
For the convenience of operation, the content of tools bar will be adjusted according
to your requirement.
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operations. The layout of scene option window is shown as in the image following:
Note: the pick-up digging color is the background color eliminated in virtual
studio, which should be coordinated with Blue-box setting and Chroma-key setting
window to achieve the program effect which is more accurate and delicate.
Chroma Key1
provide foreground signal, background signal and the reflection
on tools bar to enter the live video disk Play list edit mode,
as is shown following:
The live video disk list editing mode consists of: material index window,
material guidance window, live video broadcast preview window, Play list edit window
and material option window. It is used for broadcasting the video file on local disk as a
supplementary of the live video in virtual studio. The system supports double channel
local disk video broadcast select and the broadcast of files on different channel
compatible to HD and SD according to the requirement of program.
The Play list editing is mainly completed in Broadcast edit window:
1Play list program material arranging tools
Note: When it imports local video files, you should determine the type of files.
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Select the option of HD or SD in Video format select and import the videos
according to the program type of former local video.
2Program material edit tools
Note: program material edit tools bar, mainly complete the preview broadcast
control of program and the live video broadcast editing. Also it can cut the In point
and Out point of the material imported.
3.3
When the system is in edit mode or in live video Play list edit mode, click the
icon or the option Play mode in the View menu to enter broadcast
mode. The dual channel broadcast mode is shown as in the image following:
FG Mix Panel: Click the 1, 2, 3, 4 to broadcast the local video and external video as
background.
Aux 1/2 Live Video Select: Select alternative signal for live video broadcast signal
Virtual Camera Panel: the three buttons under the panel are: virtual camera
movement startup, move to first frame of virtual camera and move to the last frame
of virtual camera.
Extentset the foreground person covering relations, and activate the first channel
local disk video and second channel external video.
Meanwhile you can activate the Speed option below to select different switching
speed and control the switching by pushing the push rod in RC.
Effect: Storing panel for effect wipe switching, where you can prepare the often
used effect and wipe by dragging to the panel
Speed: Effect switching speed, here we have set 6 switching speed for choosing
RC:
Cam Position
1. Hardware setting
2. Card setting
3. Output setting
5. Software environment
the
file
4. Port setting
setting
Cam Init
1. Enter camera setting
corresponding
2. Zoom to furthest
positions according to
3. Zoom to nearest
x, y coordinates
the
height according to z
foreground coincides
with background
condition
monitoring
corresponding
the
movement
horizontal.
of
IO Card: The format of camera foreground signal input, as for the system with
Y/C, YUV and SDI foreground input ports, the corresponding setting are Y/C, YUV
and SDI.
PAL/NTSC (Restart): Set the system standard, and the setting will be activated
when you restart the software.
Sync Setting: Set the type of synchronous signal as Internal (Internal Sync),
Bi-Leve (Bi-Level Sync) and Tri-Leve (Tri-Level Sync).
Dimension (Restart): Set the system signal input/output standard, which is SD
or 1080i HD in system. You need to restart the software to activate the setting.
H Phase: Set the phase parameter of IO card, which adopts default setting and
requires no alterations;
SC phase: Set the SC phase parameter, which adopts default setting and requires
no alterations;
Test Graph: Output different graphics for testing by selecting different options,
and Normal is selected by default; when Black Field is selected, it outputs solid
black signal; when Test Graphics is selected, it outputs test graphics signal; when
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Click the Select button to change the background style in edit mode, where the
following patterns are provided in the system:
Pattern Guid 0, black and white grid with higher grey level; pattern Guid 1,
black and white grid with lower grey level; pattern Guid 2, black and white grid;
pattern Black, solid black.
Number of seat: The number of seat s stands for the camera input ports in the
front-end switcher. In our standard systems we have provided 3 channel input ports,
where users can configure the Number of seat according to the camera number
equipped in studio. For example you can set the number to 3 if there are 3 cameras
equipped in the studio. The number of aperture camera is relative to the camera
available, if there are 3 cameras equipped, the Number of aperture can set to 3. If
the number of cameras is set to 3 but there are only 2 cameras in the studio, the
system will not output composed graphics when it switches to the third camera
because of lacking foreground camera signal. The number of movement camera
stands for cameras which can achieve movement effect (like aerial shooting, arm
shooting and track shooting), where the number of camera can set according to the
number of movement cameras it needs, which is 3 at maximum. The foreground
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signal used in movement camera can be set in the option of Foreground binding.
Seat Attach: Here you can configure the foreground signal (which is the camera
signal from each actual camera in studio) attached to video camera, the video cameras
are defined as camera 4, 5, 6 in U-Set (graphics camera are defined as camera 1, 2, 3).
Usually camera 4, 5, 6 will be attached to the same camera, where the space relation
in moving process is represented in movement cameras only if the camera scene
contains the entire body of foreground person or object.
Chroma keyer attach: In this section you can set the chroma-key effect
corresponding to the foreground signal (the signal from actual camera in studio),
which is able to configure 3 sets of chroma-key effect at most. It is especially
effective in the situation where the camera foreground graphics is inconsistent and
camera digging effect deviated with each other because of the difference of the
illumination, blue-box or the camera per se.
Scene directory: The default scene base directory is MySceneGroup on the root
of driver D. It is determined before the system leaving factory and requiring no more
configurations. Besides, if it has to alter the settings, please click the Confirm
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directory button and restart the program to activate the new settings. The setting
window is shown above;
Sensor delay: Enabled when the transport sensor is equipped; it is used for
setting the camera delay;
Transport counter type: Select the type of transport counter;
Chroma keyer: Alter the control style and shift between digging, shadow and
digging, desaturate foreground.
Scene type: Select the scene type you need. Video: pre-render, this stands for
that the imported TGA image and TGA image sequence in virtual studio scene are
applied for simulating the real scene and virtual aerial shooting. Model: real-time
render, this stands for that the scene imported into U-Set 3D are 3DS files; in virtual
studio the virtual camera is applied to altering the 3D position performance, space
relations and virtual aerial shooting track to simulate the actual studio scene.
We are going to complete the establishment of scene project with the following
steps, which can be used for direct creating of virtual studio program in future.
requirements of programs. The scene file that can be created in U-Set 3D are: 3D
scene file, graphic scene file and video scene file.
Note: Please refer to Appendix One: Guidance of Scene Creating for the creating
guidance.
Click the button of Add filling image in the window above and select all the
rendered video scene Tga sequence (shortcut key Ctrl+A) to input into filling image
list. In certain circumstances, you can click the button of Add key-image and select
all the rendered key mask Tga sequence to input into key-image list. Next select the
relative directory and name the new avi file. Wait a moment after clicking the
Convert button, the process of video scene create, convert and input will be done.
Click Complete button to close the window.
Meanwhile, the avi video scene file converted before will be copied to the scene
folder in the MySceneGroup directory at driver D automatically.
NotePlease refer to Appendix One: Guildance of Scene Creating for the
operations of graphic scene creating.
If the Tga sequence has been converted into avi file, you can click the option of
Add and select the avi file to add to the scene folder directly.
Note: please refer to Appendix One: Guildance of Scene Creating for the definitions
of start and target coordinates in virtual camera.
Video scene camera parameter input: as for the video scene camera, first,
when you need to configure the scene rendering, the virtual cameras are placed to the
corresponding positions of key-frames in 3D software (like 3DSMAX); second, when
you need to input scene rendering, you can copy and paste the camera coordinates and
target coordinates of key-frames in 3D software (like 3DSMAX) to the positions
marked in the image below:
Operations for parameter script creating and direct scene parameter input:
except for the scene parameter input method mentioned above, we have offered other
methods for value script creating and scene value direct input. In either graphics scene
or video scene, we need to create a corresponding script file (TXT format) and rename
it to the same as scene file, then put the script file to the directory of the scene file
(like a scene folder in directory MySceneGroup at D root). After the setting, the scene
values will be invoked into system simultaneously when the scene file is loaded.
Note: After clicking the option of Scene saving, the script file saved before will be
covered by the updated file.
option in File menu to save the project file with a relative file name. Next time
when you open a project file, you can notice that the scene values have been saved
within the project file.
Activate the model switcher, and then you can configure the model object
imported into the scene. Here you can select object through Top Front Left of
the model in edit window and set the option of Motion Texture to the objects in
object list box after object selecting in the pop-up object list, as is shown in the image
above. The high-lighted yellow area is the selected editing part in current edit mode
and is able to edit the attributes of Motion Texture of objects, as is shown
following:
Rotate: Turn on the Rotate switcher, and then you can set the rotate option to
the objects in the scene. Duration is the speed of rotate; the faster it rotates, the
shorter the duration is. Here the rotate patterns for choice are: rotate along Axis X,
rotate along Axis Y and rotate along Axis Z.
the aerial shooting in model mode is easier in setting, more humanness in operation
and more accurate scene effect closer to the arm effect in actual studio, as is shown in
the image following:
timeline to the position of key-frame and alter the relative settings of start point to add
the key-frame. Besides, you can bring the timeline to the position which needs to add
a key-frame and drag the virtual camera in edit window to complete key-frame adding
and alter the value of space position.
option in File menu to save the project file with a relative file name. Next time
when you open the project file, you can notice that the scene values have been saved
into the project file.
Z
Y
Blue-box
Ca
Ca
Y R
X R
Y V
X V
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Next, set the height of camera as value Z. In default setting, the coordinate of
axis Z (height on the other word) of camera position is the same as the coordinate Z of
target position, which means the actual camera should be placed horizontally if the
virtual camera placed the same.
Note: you can place the actual camera according to the relative position of
virtual camera in rendered virtual scene; also you can place the virtual camera
according to the relative position of actual camera, and then generate the rendered
scene. You can select one of the methods according to actual conditions. After actual
camera placed to the position, zoom every camera to longest focus, then pan the
cameras to adjust the camera oriatations to maintain the perspective relation of
foreground objects and camera switching, as is shown in the image following.
Perspective
relation
coincides
Perspective
relation does
not coincide
1Cam
Camera switch
2Cam
As for the system equipped with camera eletromechanical tracking sensor, when
the camera orientation is determined, you can click the button of Camera trasmitting
tracking sensor lock to lock the camera and turn on the tracking system. Then you
can view the relative movement in virtual BG graphics when the camera pan, tilt or
zoom. If the foreground moves oppisite to the background, such as when you pan the
camera to the left, the foreground moves right while the background moves left, you
can enter the Sensor setting dialog box (see the following paragraphs) and set the
polarity of Pan to Contrary to keep the moving direction of foreground and
background in coincident. Move the camera again. If you find out that the foreground
and background still move oppositely, you should move on to next step Camera
initialization.
The operation introduced in this section is significant for configuring the camera
equipped with electromechanical tracking sensor. The camera without tracking sensor
does not require the operation.
The camera aperture changes are collected by the zoom wheel and the sensor
gear meshing, and the relation of camera aperture changes (camera zooming) and the
zoom gear rotate angle is nolinear (mathematically it is curve relation), thus we apply
the fitting process to conclude the camera aperture changing rule to ensure the
synchronic movement of foreground and background in zooming process. With the
aid of an optimized software arithmetic in U-Set 3D, you can adjust the five points in
the camera zooming process (including the nearest and furthest point) to simulate the
zooming curve of any lens of any type. So we call the camera initialization
Five-point focus.
Five-point focusThe operations are listed as follows:
1Configure the parameters of camera and ensure the camera placed horizontally.
2Lock the camera: click the Lock button to keep the camera in movement tracking
mode.
3Switch to the camera needed to configure; click the System menu on the upper
left corner to pop-up Camera lens setting message box.
4Complete the first step of operation according to the notice in the message box:
pull the lens to the farthest position, as is shown in the image following:
5Click Next to the second step: pull the lens to the nearest position, as is
shown in the image following:
6 When the previous steps are completed, the light knot of focal length
indicator should be in the center of coordinate system. You can move the
camera in pan or tilt to detect the movement coordination of background and
real scene. Then alter the value in micro regulator until the moving or
changing speed of virtual scene coordinate with the foreground in camera
moving process. In other words, the value in the micro regulator is used for
determining the foreground speed: value increases, the foreground speed in
camera moving will increase; value decreases, the foreground speed
decreases. The window is shown following:
Focal
Length
Indicator
Micro Regulator
Reference Ruler
a) Alter the zoom of the lens again and watch whether the golden finger reaches
the second adjusting position on reference ruler. Then zoom the lens with tiny
movement until the white point reaches the center of the focal length indicator, and
then repeat the previous pan and micro-adjusting operations. Next, configure the
rest positions with the same operations
b) If you are not satisfied with the result of any of the five adjust point, you can
set the camera focus of the point and readjust. After that, click Confirm button in
the window to exit. The setting of Five-point focus will be saved automatically.
Note: during the five-point focus process, the golden finger below the
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button in
Option setting window in scene channel to enable the Mask in current camera and
achieve the effect that virtual object covers FG object from view. The setting
operation is shown in the image following:
The infinite blue-box function is to cover the scene and objects which are out of
blue curtain in foreground.
When the range of camera scene is out of blue curtain, with the Infinite
blue-box feature, the virtual scene can be overlapped onto the area out of blue
curtain to cover the camera scene out of blue curtain.
Provided that the main body of person stays within blue curtain, the camera
scene can reach beyond blue curtain. It is a practical feature to achieve the effect of
large studio with a smaller one.
Note: The mask effect setting is aiming at the camera foreground covering. In
aperture camera you can configure the mask parameter of each camera, where the
virtual movement camera is set synchronously with bound aperture camera.
camera in the Foreground binding setting column. After the aperture binding is set,
you can set the parameters of Camera position Target position and Lens setting
which are corresponding to the Camera position setting Target position setting
and the Lens setting in timeline to set the movement track to virtual movement
camera, as is shown following:
Note: When setting the movement track in virtual movement camera, you can
set simple movement track through First frame matching or Last frame matching.
before Video window in Timeline window. Then click the live video box to create
live video.
In the value column at the bottom of Edit window, you can input the values of
Offset, Rotate and Size of live video window to place the live video window in
an appropriate position in virtual scene.
window, and then you can set the Local video or External signal as the video
source of live video object, as is shown in the image following:
Local video 1: the video window is broadcasting the content from local disk 1
Local video 2: the video window is broadcasting the content from local disk 2
External video: The video broadcasted in live video is the external CG signal
imported from video capture card. If you need to select external signal as the source
of live video, please connect the system wires according to actual condition and select
corresponding signal interface types in System setting.
When the option of Key Frame Effective is selected, you can set the curve
pattern according to the setting shown above to achieve the live video fade in/out
effect. The length of fade in/out can be set in the timeline window by configuring the
time of move-in and move-out respectively, as is shown follows:
Move-in Duration
Move-out Duration
Note: if you need to import mask resources, shift the Mask sub-tab to current
tab and right click the blank of Resource manager window. Then you can import
resources by selecting the option of Resource input.
model of any shapes, and also supports the broadcast of video on the surface of solid
model.
The imported solid can be zoomed, morphed and copied in the edit box with
the edit tools.
Note: any solid set in this channel will be integrated into the scene space, and
will be interlinked with virtual scene during the movement of virtual camera and
actual camera (equipped with tracking sensor)
Besides, there are more option settings in solid option window, which can be
previewed and altered in edit window in real-time. Here we shall talk about the off-set,
rotate and size value display in edit window particularly, from which you can get
access to the information of the solid editing directly. The object moving, rotating and
size can be altered in the value of X, Y and Z axis by right clicking to gain a best solid
face and space relation effect in broadcasting.
After the Keyframe Effective is activated, the system will add key-frames to
the last frame of move-out phase and the first frame of clear phase automatically.
Here the key-frames share the same position, which can be moved to appropriate
places with the Move tool on tools bar. If it is necessary to add another key-frame to
a certain time phase, move the timeline in timeline window. The object will be
moving in the corresponding track together with timeline moving. Then move the
object with the Move tool to add a new key-frame; if you need to delete a
key-frame, move the timeline to the key-frame and click the delete button.
The key-frame settings in rotate and zoom are the same as mentioned above, thus
you can refer to the paragraphs above for instructions
Note: you can drag the key-frame up and down directly in the curve preview
window to alter the values. The settings of Rotate and Zoom are similar to the
setting, which will not be repeated here any more.
Note: a special case in Rotate setting is to set the object rotate round a certain
axis when the key-frame is not activated, which is not controlled by the Move-in ,
Stay, and Clear respectively.
6.1.1.3.4 Morph Attribute
Object morph effect stands for the effect aiming at transforming the objects that
can be distorted and changed. The morph effect and be effective in the entire
move-out, stay and clear phases of every object. Click the Morph tab and activate
the switcher of Morph to select the Keyframe Effective and set the frequency and
Frequency: the speed of the wave in a time unit during the transform period.
[X]Amp: Usually refer to the range of fluctuation along axis X during
transforming. The larger the value is, the higher the wave is; the smaller
the value is, the lower the wave is.
6.1.1,4. Timeline
Timeline stands for the duration of the current character or object selected, as is
shown in the follows:
Broadcast Duration
In
Stay
Clear
You may notice that the duration of each character or object is divided into three
phases, which are move-in, stay and clear respectively. The length of move-in and
clear shows the time it takes to finish the actions of move-in and screen clear.
The definitions of the five buttons on the upper left corner of time line are listed
as follows:
: Brings timeline back to first frame;
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Move-in point: the time from object broadcast button activated to object move-in (shown in
the form of frame, second or minute).
Move-in phase: the time spent during the program material move into the program, which is
the same as the move-in effect.
Stay phase: the time spent during the program material stay in the program, which is the
similar to the show time.
Clear phase: the time spent during the program material move out of the program, which is
the similar to the move-out effect.
The content invoked into the system template belongs to the resource file in live
CG composition channel, and you can refer to Chapter Seven Live CG Compositon
Module for details of editing. For the editing of the whole template application, see
6.1 Model and solid create and edit.
View menu in edit mode, and then the system will shift to broadcast mode, as is
shown in the image following:
Solid
Foreground
7.1
Character Editing
After title and text created, you can type in relative text to the text box shown
following and click different tabs to set various attributes of the characters.
Image position P
In the Typesetting sub attribute, you can set the line aligning pattern, row
aligning pattern, vertical typesetting, border aligning, justify aligning, TXT file input
and image insert, as is shown in the image following:
color in palette, which can be preview in preview window and added to user template
for further using. When clicking the Gradient filling button
knots appear, of which the number is variable and each knot controls one color. If the
! appears under the color bar after a color is selected, it means the color saturation
of the selected color is too strong, which is not appropriate for broadcasting on TV
and needed to be altered. Besides you can control the transparency of each selected
color, as is shown in the image following:
same direction or
counter direction.
Tips for parameter adjusting: double click the values in the parameter setting
column, and then alter the values by dragging the mouse up and down while pressing
the left key of mouse
2Character face texture
Select the Texture tab to set the character textures. When it needs to paste
image to character face, activate the switcher of character face texture first, as is
shown in the image following:
Then double click the image in resource manager window, which can be
previewed in preview box; after that configure the transparency of texture. Note:
Right click the subsidiary attribute switcher to make it activated.
3Character face effect setting
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When the option of Bump is selected, you can configure the values of the
direction, sharpness, and light intensity to create 3D character effect with character
bumping.
When the option of Blur is selected, you can configure the values of
horizontal blur and vertical blur to add blur effect to character face; if you need
stronger blur effect, click the Blur button.
When the Keyframe Effective is activated, the system will add two key-frames to
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If you want to delete a key-frame, move the timeline to the key-frame and click
the Key-frame delete button. The key-frame settings in rotate and zoom are the
same as the setting in track, thus you can refer to the paragraphs above for guidance.
Note: you can drag the key-frame in curve preview window directly to alter the
relative parameters.
Note: Disturbance attribute Rotate setting. You can select the rotate axis and
rotate speed directly without the limit of timeline, which is a particular case in rotate
attribute.
If you need to set delay effect to a key-frame, activate the button of Keyframe
Effective with the operation mentioned above.
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7.1.10 3D Setting
3D effect is the tab for 3D attribute setting. Activate the Use 3D effect, and
then you can transform the 2D character into character with 3D effect and configure
the X, Y, Z coordinates of the text input. When the Use 3D effect is not selected, the
text input adopts 2D text pattern.
Character interval effect stands for the space between characters in Move-out
or Clear phases. If it is necessary to add interval dynamic changes in move-out or
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Click the Character wave attribute tab and activate the character effect
switcher to set the values of the frequency and extent of character wave. If you need
to set key-frames in move-out phase and clear phase, activate the Keyframe
Effective button.
Along with the typesetting attribute setting in Text edit box, it is able to achieve
the effect of character rolling to the right, upwards, downwards, diagonal upwards,
diagonal downwards, inwards and outwards. According to the requirement of different
programs, you can set different text rolling time and speed to different text.
Click Curve attribute tab to set the curve value of title. If you need to set
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7.2
3D Object Editing
then the relative resource manager window will reflect the 3D graphics resources,
where you can load the 3D graphics by double clicking, as is shown following:
Input the solid object through 3D attribute adding. Double click the 3D graphic,
and then the graphic for adjusting will be displayed in curve adjust box. Here the
adjusting nodes of the graphic will appear, and can be edited by the graphic edit tools
listed following:
: Move the nodes and control knot
: Node drawing
: Add node or control knot
Besides, you can set the wipe effect range in graphics by activating the relative
buttons, including face, border, shadow and 3D border.
Meanwhile it supports the setting of the range of light effect on solid, including
face, border, shadow and 3D border. Also it can configure the key-frame of the light
effect color to achieve light color dynamic effect.
Note: light effect can be designed in other software. The Tga sequence file can
be used for light effect resources importing, which can be applied to solid and other
objects.
7.3
Graphics Editing
Click the Image creates button on tools bar to create an image. Then the
resource manger window will shift to the corresponding image window automatically,
where you can double click the image to select it. The image attribute includes face,
shadow, track, transparency, disturbance and wipe, with the same setting and editing
operation as the character and graphics, which will be repeated no more.
Note: Only when the tab of Face or Shadow shifts to Texture can the
resource manager shift to image part.
7.4
Animation Editing
You can design animation Tga file with other software and import the Tga
animation sequence into U-Set 3D system, which will be used as animation in
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Click the Animation tab in attribute manager window to set the interval of
animation loop broadcasts. Click the play button to preview the animation. The
attribute of animation includes shadow, track, transparency, disturbance, wave, light
effect and wipe with the similar setting method in character and graphics, which will
be mentioned no more.
Click the play button to preview the particle effect in animate sequence file.
Meanwhile, it is able to set the effect of moving track and transparency to particle
effect with the same operations introduced above, which will be repeated no more.
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7.6
The templates in the sample will be listed in the window in the form of simple
script. Each script of template will begin with a pair of square bracket, which includes
the template directory and the names; if there are characters like title and text in
template, they will be listed under the template name line by line.
You can drag in multiple templates at the same time and configure the position
relation and distance relation in Edit window before clicking the button
8.1
In the graphics scene composed with blue curtain, the outer boundary of
foreground object is a factor affecting the reality of composition effect, where the
details like edge of dyeing, black borders and blurred details may severely affect the
final composition effect. The linear key-control technology in U-Set 3D is used for
the ensuring the natural transition of foreground object and composition background,
which can represent the details hard to deal with in common chroma-keys, like fog,
transparent object and hair. Also U-Set 3D offers various FG and BG parameter
controls for enhancing the reality of composition CG. We shall introduce the specific
functions and setting operations of the parameters in this chapter.
8.2
which is formed by blue curtain and foreground objects, the bright blue curtain
reflection may leave disturbing blue shadow to foreground objects. Whats more, the
reflection light will get through the semi-transparent area of foreground object. To
eliminate the influence of reflection on FG object, it needs to restrain the intension of
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blue color on FG graphics and eliminate the blue curtain on foreground with blue
restraint.
The color of real object in foreground includes the color blue, thus over restraint
of blue color will cause color distortion in FG object. In fact, the color blue is
restrained by the color distortion. With U-Set 3D chroma-key, you can alter the
relative parameter to restrain the blue color reflection from blue curtain while causing
minimum influence of color representing in FG object.
Mask generate: The U-Set 3D chroma-key can generate mask control signal
according to the influence of blue curtain in FG graphics, which is able to ensure the
representation of semi-transparent object in FG graphics signal and blurred object in
the process of focus or movement. Meanwhile, in U-Set 3D chroma-key the mask
signal is in direct relation with the brightness of blue curtain, and the feature can
ensure the shadow of FG object on blue curtain represented in the composed graphics,
which can provide a better graphics composition effect.
Transparency, shadow and blots: U-Set 3D supports the control of the shadow
projection from the semi-transparent object in foreground graphics and objects,
through which it is able to maintain the semi-transparent object and shadow while
eliminating the blots on blue curtain.
CG composition output: In U-Set 3D, the final composition signal is composed
with the blue restraint graphics of foreground and mask effect graphics of background
in chroma-key. The external mask signal input can stay in the background signal of
foreground object, which is able to achieve cover effect, a most significant feature in
virtual studio system.
8.3
Illumination Setting
setting will enhance the reality of FG and BG with the light effect matching.
We have to remind you that the bright blue curtain will be reflected onto the
edge of foreground object, which makes you feel that the edge of foreground object is
brighter. However, the reflection from blue curtain will be eliminated by the blue
elimination circuit in chroma-key, leaving black edge to the foreground object. To
solve the problem, you can add some border lighting to the composition CG to
eliminate the black edge on foreground object and lighted background graphics.
If the studio is small, you should arrange the illumination on foreground object
first. In this situation the illumination on foreground object will project to the blue
curtain at the same time; after foreground illumination setting, add some light onto the
blue curtain to ensure the equal illumination and certain brightness.
If the equal illumination is set to FG object and blue curtain at the same time,
and then increate the main light to project shadow to blue curtain, it is impossible to
generate real shadow effect in composition graphics. The reason lies in that the
shadow of blue curtain on FG object is made from the difference of surrounding light
and the illumination on blue curtain. When it alters the chroma-key in U-Set, the
power of the shadow and the area rest on blue curtain will reach the same power, thus
the effect of shadow on composition graphics will be the same as the rest of blue
curtain, which stops the shadow from representing.
Illumination setting in blue curtain
In order to get ideal composition effect, the power of illumination on blue curtain
would be the same as on FG object, which means the illumination value tested on FG
object and blue with photometry will be the same, or you can get a same power output
on camera if you put a reflector on FG object or blue curtain.
To generate shadow in composed graphics, you should:
1Ensure the power of illumination on foreground object is coincident with the
illumination on the blue curtain.
2Ensure the color purity of blue curtain (which means the Red and Green light
on the reflection from blue curtain is little).
3Ensure the equality of the illumination on blue curtain and the stability of the
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may go into the camera. A better solution is to turn the direction of illumination on top
slightly to the blue curtain.
Camera white balance
You should prepare the white balance for the cameras before shooting. Please
notice that do not let the diffuse light from blue curtain affect the white balance, or the
PWL of mask signal will be brought down and the color will distort.
8.4
Hue: digging color alter. Configure the value to change the digging color on
foreground.
Aperture: Control the range of digging color, the blue color on foreground is
purer, the aperture is smaller.
Saturation: Control the saturation of foreground digging color, the higher the
saturation value is in foreground digging area, the higher the value should be set. But
the value should not be too high, or there will be noise in background.
SatThreshold: Control the effect of digging edge on foreground; the higher the
value is, the stronger the edge glow is.
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and Off-set respectively, as is shown above. You can set the reflection effect to any
parts of the object in the scene to generate reflection of person and scene in
foreground camera and achieve real scene composition effect.
Click the Reflection enabled in reflection box to alter the strength and off-set:
Intension: Sharpness of reflection, also the reflection of ground.
Off-set: The off-set of shadow on axis Z.
When the Wave tab in Chroma-key 1 window is set to current, you can select the
Wave enabled option to adjust the values of Velocity, Lenth and Extent
respectively, as is shown above. You can add wave effect to the scene to generate real
wave reflection effect on the ground of video scene, and configure the parameters of
the wave according to the requirement in the scene.
Activate the Wave enabled button in reflection box to alter the strength and off-set.
Velocity: The transmission speed of wave in virtual scene, the speed of ripple.
Lenth: The wave frequency in virtual scene, related to the number of ripple.
Extent: The extent of the wave
Note: Reflection effect in virtual scene can greatly improve the integration of
foreground person and virtual scene, and greatly improve the reality of virtual studio
program by adding the foreground reflection effect in the virtual scene with reflection
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button on
tools bar or click the Broadcast mode in View menu to shift to broadcast mode.
The record workflow in U-Set 3D mainly includes camera switching, live video
broadcast control and CG object broadcast control.
9.1
9.2
It can set fade-in/out effect to the move-in and move-out effect, see 5.2.3 Live
video transparency attribute setting for more details.
Besides, you can set the mask effect and texture effect to live video, see 5.2.4 Live
video mask texture attribute setting for more details.
9.3
in the lower
left corner to control the broadcast of character and CG object. The broadcast control
window is shown as in the image following:
Click Preview to preview the CG character object about to broadcast; and then
click the Broadcast button to broadcast the object, with corresponding short-cut key
from F1 to F10.
When the Replace mode is selected, you can update the broadcast content of
character or object which is not broadcasting.
Firstly, we shall take the character as an example to introduce how to update the
content of character in broadcast mode.
a. Double click the character bar to pop-up the image update edit-box; and then
make sure the character broadcast has stopped, as is shown following:
b. Type the text into textbox for updating or input the corresponding TXT file;
then double click the character bar again to close the textbox;
c. Broadcast the character again, then you can notice the character content has
updated;
d. Set loop broadcast mode to character broadcast: click the button of Loop
broadcast. If the Always loop is selected, the character will repeat the move-out,
stay and clear phases, where the interval of each loop can by set by users (60 minutes
in maximum, with minute as the minimum time unit); naturally, you can set the loop
times (20 in maximum) and the interval of each loop.
Note: if you have selected the loop broadcast mode, click the Clear
button again after the object broadcasted, the screen clear operation will be
carried out imperatively, which means the system will clear the screen without
waiting for the clear action set in edit mode.
Here we shall take the image object as example to introduce how to update the
d. Play the graphic again, then you can notice the graphic content has updated.
e. Set loop broadcast mode to image broadcast: first, click the button of Loop
broadcast, if the Always loop is selected, the image will repeat the move-out, stay
and clear phases endlessly, where you can set the interval of each loop (60 minutes in
maximum, with the minimum time unit minute); if the Always loop is not selected,
you can configure the number of loop times (20 in maximum) and loop interval.
The update operation of animation and particle object in broadcast mode is
similar to the operation in image, which will be repeated no more. Such update
method is not available in solid and clock object.
Image 1
Image 2
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Image 3
X
Image 4
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The position of actual camera coincide with virtual camera requires that the
relative coordinate X and Y in actual camera are equal to the coordinate X and Y in
virtual camera, which is X RealX Virtual Y
RealYVirtual,
as is shown in
Image 5:
Blue-box
Cam1
Cam2
Y Real
X Real
Y Virtual
X Virtual
Image 5
Note: You can place the actual camera according to the relative position of
virtual camera in rendered scene; also you can place the virtual camera
according to the actual camera, then render. Both of the methods can be chosen
according to practice.
4The Tga graphics rendered in each camera is 32 bits, 20481024
resolution graphics;
5The X, Y, Z coordinate of each camera and the target center should be
recorded and input into U-Set 3D system; if there is live video window in the
scene, the X, Y, Z coordinate of its center, the rotation angle of X, Y, Z axis
and the width and length of the window should also be recorded into U-Set
3D.
4 The size of each frame rendered in each camera is: 720576 (PAL), 720
480 (NTSC), which the format is 32 bits Tga or RPF. The setting of
RPF is shown as in Image 6:
Image 6
be rendered in the movement camera and generate a 32 bits Tga Alpha channel
animation sequence, which will be input into U-Set 3D for covering. Here we shall
take a single frame for example to make an introduction:
Box Width/2
Camera Wide-angle
Image 1
II. Create 3D virtual scene, we recommend you 3dmax.
In scene creating or exporting, please notice that the scene is in the origin of the
3D space.
III. After creating, you can bake the scene, as is shown in Image 2:
Image 2
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Image 3
V Add texture element. Select CompleteMap, as is shown in Image 4:
Image 4
VI Set the elements name (less than 8 characters); select the target texture position as
the emissive texture; set the size of texture, as is shown in Image 5:
Image 5
VII Click Render in Render to texture menu, then the object texture for rendering
will be unfolded automatically, as is shown in Image 6 following:
Image 6
VIII Click the Save button in Parameter to save the coordinate of texture, which
avoids texture transposition from texture losing, as is shown in Image 7:
Image 7
IX Paste the baked texture to the object. Change the texture channel to 1 and load the
texture coordinate, as is shown in Image 7 above. Adjust the texture glow to make it
coincident to the condition baked before.
X After texture, output the 3DS file. Put the 3ds file and map as well as texture
coordinates to the same directory.
XI The 3ds file is available once it is imported into U-Set.