u-set user manual

8/9/2019 U-set User Manual

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Table Content

Shenzhen Uni-Leader Technology co. Ltd All Right Reserved



Chapter 1 System Summary U-Set 3D Virtual Studio System User Manual

Chapter One System Summary

The System summary of U-Set 3D mainly consists of two parts: SystemComposition and Basic Principle and System Technology Breakthroughs.

.1 System Composition and Basic Principle

U-Set 3D is an innovative virtual studio system supporting 3 cameras

synchronous switching and the integration of CG tracking system and camera

electromechanical sensor tracking system. By collecting the values of camera pan, tile

and zoom or the track information of virtual scene camera, the rendering system willgenerate graphics composition output in accordance with foreground movement and

composed with chrome-key digging as well as character overlapping. Meanwhile it

supports sensor tracking camera adding by users.

The system structure of U-Set 3D 3 cameras (2 sensor tracking cameras) 1

channel 2 screens virtual studio is shown as follows:

Cam1

sens

Cam2

Sens

Sensor info collect module

FGsignal

Live video input

Cam3

S wi t c h e r

Vi d e oi n p u t m o d ul e

Ch r om e -k e ym o

d ul e

Ch ar a c t e r o v e r l a

p , vi d e o

o u t p u t m o d

ul e

Live video BG

render and FG

overlap module

Wide-angle BG

render and FG

overlap module

LV collect module

Sync switcher

Sensor signal

Audio delay moduleStudio audio signal input

Audiosignaloutput

U-Set 3D

Gra hics Server

Videosignaloutput

Port

signal

Sync signal

Data stream

Sync signal input

Video signal Audio signal

Sensor signal Port signal


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【Module Supplementary Information】

1、Switcher: Control the camera foreground signal switching, controlled by the

serial port signal from U-Set 3D graphics server;

2、Sync signal distributor: distribute external Sync signal to the Sync signal output

ports of U-Set 3D graphics server, switcher and the camera reserved for user

respectively;

3、Video input module: Convert the foreground video signal from switcher to 10 bit

digital broadcast signal;

4、Chrome-key module: With advanced chrome-key digging arithmetic, it can

compose real-time digging process to FG data stream and generate corresponding

FG graphic key and filling information;

5、Transmit information collection module: With electromechanical transmit

tracking, collect the action information of pan, tilt and zoom in camera from six

directions;

6、Action video collection module: Real-time collecting active video signal input

and convert to 10 bit digital broadcast signal for virtual scene video creating;

7、Action camera BG render and FG overlap module: With advanced CG

movement tracking arithmetic, it is able to generate and render dynamic virtual

background and dynamic key mask information, which is composed with

foreground key and filling information to achieve a perfect integration of

foreground person digging and the space perspective relation in virtual scene. In

the process of virtual camera aerial shooting movement, the actual camera is in

accordance with the foreground person, achieving simultaneous interaction,

accurate location and rational covering relations. 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.

8、Aperture background render and foreground overlap module: based on the

camera action value collected from information collection sensor module, it


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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 System Technology Breakthroughs

Advanced movement tracking ari thmet ic , achieving foreground

synchronous interlink with camera

The CG movement tracking arithmetic theory is to arrange rational space

perspective relation of FG person digging and virtual scene automatically

according to the movement tracking. In the process of virtual camera aerial

shooting movement, the actual camera is in accordance with the foreground

person, achieving simultaneous interaction, accurate location and rational

covering relations, which bring the integration of reality and virtual space up to a

new level.

Electromechanical transmission combined with CG movementtracking, close to user’s requirement at the most

With the electromechanical transmission and CG movement tracking, users

can apply the former to fulfill the requirement of virtual program creating; also

users can apply the latter to achieve magnificent aerial shot like aerial shooting

and arm swing, which is used for the opening and ending of a program with the

performance of the wide scene in virtual area, achieving the humorous integration

of technology and art.


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Flexible multi-camera design

In U-Set 3D virtual studio system, it is equipped with 3 channel camera

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.

Perfect integration of elegant pre-render scene and flexible

real-time render element

The render mode adopted in U-Set 3D is combined with scene element

pre-rendering and real-time scene element rendering. As for the entire virtual scene,

it is of no restriction in template scene creating, texture and illumination by

applying the pre-render mode, which can be used to create the scenes of any scale.

The pre-render mode is applied to both the cameras of electromechanical transmit

tracking and graphics movement tracking, offering elegant but vivid virtual scene

for the feature and close shot with tracking technology as well as the panorama

shot with graphics movement tracking. What’s more, you can add various real-time

rendering 3D and 2D scene elements into virtual scene, which fully comply with

the concept of pre-rendered coordinate of 3D scene and fulfill the rational

perspective relations. In U-Set 3D, you can create various video, CG, animation

sequence, particle, solid (earth, virtual TV/TV wall, histogram and pie graph)

flexibly, which you can achieve the feature of foreground covering.

Brill iant shadow and specular chroma-key effect

Traditional key-frame can merely control the depth of the shadow of person,

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.


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In U-Set 3D, we apply an advanced chroma-key technology to change this

predicament. In U-Set system, users can add shadow to person at will and control

the depth and angles of shadow. Meanwhile with the combination of the shadow in

FG person and ground reflection in virtual scene, it is able to create more brilliant

virtual studio program than ever before.

Provide comprehensive character solution

Develop the character overlap channel in virtual composition graphics, which

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.

Warning: Because of the precision electronic device setup in U-Set 3D system, it

must ensure the power safety and stability in U-Set 3D; all the power

(including the power supply for front-end camera and CCU) must be

earthed and the AC must adopt the same phase. For the device damage

caused by disobeying the electricity specification, we offer chargeable

replacing service.

Suggestion: We suggest our users to equip a high-power UPS for U-Set 3D system



Chapter 2 System Connections

U-Set 3D Virtual Studio System User Manual


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Chapter Two System Connections

According to different interfaces of front end camera output, U-Set 3D can be

divided into Analog YUV System, Digital SDI System and Digital HD SDI System.

As for the users of the system without camera electro-mechanical sensor, we

offer the integrated 4U case, which includes all the ports on the panel in the back.

Front Panel of 4U Case

Back Panel of 4U Case






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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

Back Panel of 10U Case

Note:

Please choose the corresponding connection according to you system.






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2.1 YUV System Connection (No camera electromechanical sensor)

Tally Output Portto Cam CCU

Virtual Live

Video Y/C,

Composition,

YUV Input,

connect to VTR

Cam1

Cam2

Cam3

To digital

monitor for

preview

Sync input, connectto Sync creator orVTR

Connect to VTR

and other collection

device

YUV System

back panel

Audio signal

output after delay

Studio Video

Signal Input

VGA

Monitor

M o u s e

N e t c a b l e

Keyboard






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2.2 SDI System Connection (No camera electromechanical sensor)

An a l o g S yn c s i gn a l i n p u t ,

c onn e c t S yn c c r e a t or or

VT R

CCU1

C a m1

CCU2

C a m2

CCU3

Live Video SDI

Input, connect to

VTR Equipment

To digital monitor

for preview

Connect to collection

equipments like VTR

and non-linear editor

M o u s e

T a l l y s i gn a l o u t p u t

c onn e c t

t o C C U

Audio I/O

Port

Keyboard

Monitor

VGA

C a m 3






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2.3 SDI System connection (Equipped with camera sensor)

An a l o g S yn c s i gn a l i n p u

t ,

CCU1

C a m1

CCU2

C a m2

CCU3

C a m 3

Virtual Live Video

SDI Input, connected

to VTR and other

equipments.

Connect to digitalmonitor for preview

Connect to collection

equipments like VTR

and non-linear editor

VGA KeyboardM o u s e Monitor

c onn e c t S yn c c r e a t or or

VT R



Chapter 3 System Interface

U-Set 3DVirtual Studio System User Manual


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Chapter Three System Interfaces

The system interface of U-Set 3D virtual studio system consists of System Edit

Window, Play list Edit Window and System Broadcast Window.

3.1 System Edit Window

After computer startup, you can click the U-Set 3D icon to start U-Set main

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.

3.1.1 Pop-up Manual Module

Including the menu of “File”, “Edit”, “Mode”, “System”, and “Help”






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（

1）

“File” menu is shown on the right：

“New”: click to create a new project file

“Save”: save the current project file“Save As”: save the current project as a new file

“Recent”: reveal the latest 5 project files

“Exit”: exit the main program of U-Set 3D

（

2）

“Edit” menu is shown on the right:

“Redo”: redo the last step

“Undo”: Undo the last step

“Copy”: Copy the selected object to clipboard

“Cut”: Cut the selected object to clipboard

“Paste”: Paste the object in clipboard

（

3）

“System” menu is shown on the right:

“Play Mode”: Click to enter broadcast mode, see

next sections for more details

“Video Mode”: Click to enter video mode, see


“System Setting”: Pop-up system setting window, see


“System Mode”: Select the system mode between

GS and FX

（

4）

“Help” menu is shown as on the right:

“View Help”: Open the user manual of system

“About”: Click to display the information of U-Set

system, like version and type of software

3.1.2 Tools Bar Module

In different edit channel, the tools bar will shift into different modes to






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complete different task, as is shown in the image following:

1. Tools bar condition in “Scene” channel

2. Tools bar condition in “Live video” channel

3. Tools bar condition in “Model” channel

4. Tools bar condition in “Character” channel

When the edit window is in “Live video” or “Model” channel, the

functions operated on tools bar can be completed in the pop-up menus.

When the edit window is in “Character” channel, most of the buttons on tools

bar are used for character and graphics object creating. See Chatpter Six Chatacter

Function Module for more details.






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3.1.3 Edit Window

The operations completed in edit window are listed as follows:

complete the creating and editing of virtual scene in “Scene” channel;

complete the creating and editing of virtual live video in “Live video”

channel; complete creating and editing of model in “Model” channel;

complete creating and editing of character in “Character” channel.

The “Video” mode is shown as in the image following:

Note: The “Space tools bar” module is activated in “Scene mode” , “Live

video mode” and “Object model mode” . When the edit window is in

“Character mode” , the space tools bar will be replaced by coordinate system.

For the convenience of operation, the content of tools bar will be adjusted according

to your requirement.






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3.1.4 Attribute Setting Window

The operations completed in option window are listed as follows: complete the

controlling and editing of each live video in “Live video” channel; complete the

attribute setting of selected 3D model in “Model” channel; complete the attribute

setting of CG object in “CG” channel. See the following sections for detailed

operations. The layout of scene option window is shown as in the image following:

3.1.5 Resource Manager Window

The operations completed in resource manager window are listed as follows:

manage the scene folders, graphic camera BG and video BG files in “Scene”

channel; manage the live video mask and texture resource files in “Live video”

channel; manage the model resource files in “Model” channel; manage the texture,






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light effect, animation files on selected CG objects in “CG” channel. The detailed

operations will be listed in following sections.

3.1.6 Preview Window

Operation completed in this window is the preview of current camera foreground

signal input and the digging background color fast pick-up. The preview window is

displayed only when the “Scene” channel is activated, which is shown as follows:

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.






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3.1.7 Chroma-key Setting Window

You can complete the adjusting and setting of digging and reflection effect in this

window. The specific operation will be listed in following sections, and the window

pattern is shown as in the image following:

【Chroma Key1】： provide foreground signal, background signal and the reflection

of mix graphics signal output.

Mixed: The “Edit window” is in graphic mix mode when it is selected, which

means it displays the overlapped graphics of foreground and

background after digging.

BG: In this mode, the “Edit window” displays the background of graphics, which

is the 3D background without foreground person or object.

FG: In this mode, the “Edit window” displays the foreground of grahphics, which

is the graphics without background.

Matte: In this mode the “Edit window” displays the graphic key signal with

Alpha channel.

Default: The default parameters like chroma-key and aperture, etc.

Copy: When there are multiple camera digging, you can copy the paramter of a

camera to the chroma-key of the next camera.

Load: Load the parameters of chroma-key on previous camera or computer to the

current camera.

Save: Save the current adjusted parameters as a file for use next time.






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3.2 Live Video Disk Broadcast List Edit Window

Click the icon 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”:

（

1）

Play 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.

（

2）

Program 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 System Main Broadcast Window

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:






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3.3.1 Broadcast Preview Window

The window “PGM”

on the left is used for the preview of final composition video

output, also the final video output of program in program making. The window “PVW”

on the right is used for the final preview of the broadcast of live video and CG objects,

which can also monitor the external video, video from other camera, model input and

CG character.

on the left is used for the preview of final composition video

output, also the final video output of program in program making. The window “PVW”

on the right is used for the final preview of the broadcast of live video and CG objects,

which can also monitor the external video, video from other camera, model input and

CG character.

3.3.2 Camera Control Window.3.2 Camera Control Window

The parameter setting of the camera in graphic composition output and the setting

of blue-box are mainly completed in this window. You can adjust the space 3D position

of the start point of camera, space 3D setting of target point and the Fov, Pan and

Tilt of the camera in broadcasting, which is convenient for adjusting the condition of

camera in program broadcasting. In blue-box setting mode you can complete the setting

of infinite blue-box function in different cameras and preview the best final

composition graphic output.

The parameter setting of the camera in graphic composition output and the setting

of blue-box are mainly completed in this window. You can adjust the space 3D position

of the start point of camera, space 3D setting of target point and the Fov, Pan and

Tilt of the camera in broadcasting, which is convenient for adjusting the condition of

camera in program broadcasting. In blue-box setting mode you can complete the setting

of infinite blue-box function in different cameras and preview the best final

composition graphic output.

3.3.3 Broadcast Control Window.3.3 Broadcast Control Window

It can complete live video and CG objects broadcast control in this window:

It can complete live video and CG objects broadcast control in this window:

（

1）

Camera switching, effect, external video preview broadcast control1）

Camera switching, effect, external video preview broadcast control

（

2）

Live video broadcast control






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（

3）

Model broadcast control

（

4）

Character template broadcast control

3.3.4 Play list Edit Window

You can manage the creating, editing and broadcast control of live video disk Play

list in this window. See the previous section 3.2 Live video disk play list edit window.

3.3.5 PGM and PVW Preview Window

You can preview the content broadcasting and the videos which will be shifted to

in this window. The operation can be controlled and switched by the switcher.






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3.3.6 Camera Parameter Window

You can set the parameter of aperture camera and virtual aerial camera in this

window.

3.3.7 Effect Switching Window

This is the main control window. control the switching between PGM and

PVW (supports special effect); select effect according to your demand; control

the shifting speed between PGM and PVW; control the cover relation among

foreground, Alpha channel and model; control the zooming of live video; switch

among the channels of scene, live video, model, real object and character;

switch theelectromechanical transport sensor of aperture camera.

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.

Extent：

set the foreground person covering relations, and activate the first channel

local disk video and second channel external video.

3.3.8 Resource Switching Window

It contains switching effect in effect switching panel for rapid selecting.






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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: Effect pusher, control and activate the panel

Take: Activate manual control

3.3.9 Extent Functions

: Change the space perspective relations of models or objects as well as the

layer relations of emcee and objects.

Dsk1 : Broadcast local video 1

Dsk2 : Broadcast local video 2

Live : Broadcast external video

Note: extent function is the action applied to program broadcasting during

program creating, which can adapt to different program creating methods. The extent

function can actually simplify and diversify the program recording and shorten the






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program create period, which integrates the program creating all-in-one.



Chapter 4 System Initialization U-Set 3D Virtual Studio System User Manual


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Chapter Four System Initialization

System initialization stands for the initialization workflow at the first time of the

system startup, including system setting, scene project establishing, camera

placing and camera initialization (camera zooming curve equation fitting), which

is preceeded in the 4 steps following:

Click the on tools bar or the option of “System setting” in “System”

menu to display the system setting window for various settings.

4.1.1 System Hardware Setting

Click the in system setting window, as is shown in follow:

4.1 System Settings

System Setting

1. Hardware setting

2.

Card setting3. Output setting

4. Port setting

5. Software environment

setting

6. Camera adjust setting

7. System condition

monitoring

Scn Prj Establish

1. Create scene folder

2.

Add graphics scenefile

3. Add video scene file

4. Input scene values

5. Record scene values

6. Save project file

Cam Position

1. Place the cameras to

the corresponding positions according to

x, y coordinates

2. Pedestal the camera to

the corresponding

height according to z

coordinate and keep it

horizontal.

Cam Init

1. Enter camera setting

2.

Zoom to furthest3. Zoom to nearest

4. Adjust the values on

the 5-point, making

the movement of

foreground coincides

with background




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.

4.1.2 IO Card Setting

Click the in system setting window, which is shown as follows:

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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“Colorbar” is selected, it outputs color bar signal.

4.1.3 Output Settings

Click the in system setting window, as is shown in the image following:

Sync detection: If the system is connected to external Sync signal, the

information of IO Card Sync signal is connected will be displayed on system

condition bar, as is shown in the image above:

Peripheral device detection: Click to reset the serial ports of system and

reconnect to the switcher when the port setting is correct but shows no connection on

monitor.

4.1.4 Port Setting

Click the in system setting window, which is shown as follow:


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Serial Port: In default setting COM 1 is switcher and COM 2 is chroma-key 1

with the left serial port set to null, which requires no more altering by user; in default

setting, the Com type for choosing is: chroma-key 1, chroma-key 2, control repeater

GPI, virtual switcher or determined by the serial ports in computer device manager

and the condition of wire connecting.

Default setting: Click the button to reset to the default setting mentioned above;

Re-connect: Click the button to reset the serial ports and re-connect to peripheral

device.

4.1.5 Background Style Setting



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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.

4.1.6 Seat Settings


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.

4.1.7 Software Environment Setting

Click the in system setting window, which is shown following:

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.

.2 Create Video Mode Scene Project

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.

4.2.1 Create Scene Folder

When the “Edit” window shifts to “Scene” channel, you

can complete the scene folder creating by right clicking the

“Resource manager” window and altering the relative scene

name after you select the “New folder” in the pop-up menu.

Please notice that a scene folder with the same name as

the scene will be created automatically in the directory of

MySceneGroup at driver D.

The creating of scene file is based on inherent resources and the


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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.

4.2.2 Add Graphic Scene File

After scene folder creating, you can right click the

sub-window in resource manager window and select the

“Resource input” option to find the corresponding

graphic scene file. Then select input to finish the

graphic scene file adding.

Meanwhile, you should copy the corresponding graphic scene file to the scene

folder in MySceneGroup directory at root D. Besides, you can arrange the graphic

scene file with the pattern shown in the image above for the convenience of searching

and invoking.

Note: Please refer to Appendix One: Guidance of Scene Creating for the creating

guidance.

4.2.3 Add Video Scene File

After graphic scene adding, if there are rendered

video moving scenes in the scene, the video scene file

will be added too. Right click the subsidiary window of

the folder in resource manager, as is shown on the right:

Select the option “New File” in pop-up menu, and then a window shown in image

above will appear:


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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.

Note：

Please 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.

4.2.4 Input Scene Parameter

Input graphic scene camera parameters: When you need to import scene

rendering for graphic scene camera, you can copy the coordinates of the initial and

target positions of virtual camera in 3D software (like 3DsMax) to the columns shown

following:


- 31 -




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.


- 32 -




4.2.5 Record Scene Parameter

After graphic and video scene parameters input, right click the camera button

and select the option of “Save Scene” to save the scene value automatically. The value

settings will be saved as a TXT script file with the same name as the graphic or video

in the same directory.

Note: After clicking the option of “Scene saving”, the script file saved before will be

covered by the updated file.

4.2.6 Save Project File

After completing the steps above, click the icon or select the “Save”

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.

4.3 Create Model Scene Project

Please be familiar with the scene project creating and settings guidance in model

mode.

4.3.1 Input Model Scene

When the U-Set 3D is in edit mode, you can right click the “Resource manager”

to pop-up the scene menu bar; then click “Input” button to

input the 3DS scene file created in 3dmax into U-Set 3D

system. The imported 3d scene will be saved to Vs3dSet

folder in the format of .l3d, as is shown on the right:


- 33 -




4.3.2 Model Modularization Setting

When the U-Set 3D is in edit mode, you can click the button of “Model

Switcher” in edit window to configure the “Action” and “Texture” attributes of the

objects in the scene, as is shown following. Also you can select and edit the object in

the “Top” “Front” “Left” view window in edit window.

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:


- 34 -




texture and the imported texture.

“Multiply” “Plus” “Power” refer to the overlay style of two layers of texture.

“Coefficient 1” and “Coefficient 2” refer to the settings of original object

mapping coefficient and texture object mapping coefficient. The setting of

coefficient will affect the result of “Multiply”, “Plus” and “Power”.

4.3.2 Physical Camera Parameter Setting

In edit mode, you can invoke the scene imported into resource manager by

double clicking. Also you can alter the parameters of the virtual cameras, which are

corresponding to the real cameras 1, 2, 3, 4 with the same initial space positions, to

confirm the different attributes like angle and depth and gain vivid scene effect and

multiple camera switching effect.

【

Camera parameter setting】

Initial position setting: virtual camera space position setting, which is set by the

altering the X, Y, Z coordinates;

Target position setting: the space position setting of virtual camera shooting range,

which is set by configuring the X, Y, Z coordinates;

Camera setting: virtual camera aperture position setting, which is set by altering the

zoom, pan and tilt.

4.3.3 Virtual Camera Track Setting

Compared with the virtual aerial shooting in video mode (TGA image sequence),


- 37 -




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:

In the aerial virtual camera 5, 6, 7, 8, it is able to achieve scene smooth moving

by setting the camera position, target position and fov of a key-frame to adjust the

camera position difference in start point and target point, which is used for simulating

the aerial shot effect.

The specific settings are listed as follows: in default setting, the coordinates of

start points and target points of camera 5, 6, 7, 8 are the same. The result is that the

values in the key-frames (the settings of start point, target point and aperture) on the

timelines of start point, target point and aperture are the same, which means that there

are of no difference within their space positions. Next we shall take the setting of the

start point of Camera 4 as an example to introduce the setting of aerial shot track. The

window is shown as in the image above:

a. drag the timeline to the last key-frame;

b. alter the X, Y, Z values in the start point setting;

c. alter the broadcast time (hour: min: sec: frame) to change the different aerial

shot speed in the same track.

When you need to insert key-frame between start and ending phase, move the


- 38 -




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.

4.3.4 Save Scene Parameter

When the virtual aerial moving track and the live video space relations in scene

are determined, you can click the “Save” button to save the track values and space

relations into a TXT file with the same file name as the scene in the scene directory.

When you need to invoke the scene next time, you can click the “Load” button to

input the saved track, through which it is of no need to invoke the whole project file.

4.3.5 Save Project File

After completing the steps above, click the icon or select the “Save”

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.

4.4 Camera Position

The camera placing adapts to the priciple that the relative

position of actual camera is the same as the position of virtual

camera, and the height of actual camera is the same as virtual

camera. The definiation of the system space coordinate is

shown as in the image on the right, which is the same as in

3DsMax. If the scene is designed in Maya or Softimage, the priciple is also available,

while you only need to convert the relative coordinates.

Z

Y

X

The actual camera in accordance with virtual camera requires that the relatvie

coordinates X and Y of cameras in studio are the same as the relative coordinates X

and Y of the virtual camera in virtual scene, which is ΔX real＝ΔX virtual， ΔYreal＝ΔY virtual, as is shown in the image following：


- 39 -




Blue-box

ΔY R

ΔX R

ΔY V

ΔX V


- 40 -




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

Camera switch2Cam1Cam

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


- 41 -




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”.

4.5 Camera Initialization (with tracking sensor)

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 focus】The operations are listed as follows:

1、Configure the parameters of camera and ensure the camera placed horizontally.

2、Lock the camera: click the Lock button to keep the camera in movement tracking

mode.

3、Switch to the camera needed to configure; click the “System” menu on the upper

left corner to pop-up “Camera lens setting” message box.

4、Complete 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:


- 42 -




5、Click “Next” to the second step: pull the lens to the nearest position, as is

shown in the image following:


- 43 -





- 44 -

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:

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

Focal

Length

Indicator

Micro Regulator

Reference Ruler





- 45 -

micro-adjuster moves according to the changes of zoom in the camera zooming

operation. The adjusting data will be recorded only when the white point is

configured to the center of the zooming indicator.

By completing the steps 4.1, 4.2, 4.3, 4.4 and 4.5, you have finished the

initialization of U-Set virtual studio system. Save the setting as a project file, when

you use the scene next time you can open the project file with the operation in step 2

to start program creating, where you can skip the operation step 1 and step 3.

For the first time of invoking other scenes, you can carry out the step one and

step two after camera initialization. Remember to save the project file for further

use.



Chapter 5 Camera & Live Video U-Set 3D Virtual Studio System User Manual


- 43 -

Chapter Five Camera Functional Module and Live

Video Functional Module

In this chapter, we mainly focus on the instruction of functions of camera setting

in scene channel, infinite blue-box, sensor setting and live video object setting in live

video channel.

You can set the functional module when the “Edit” window is in “Scene”

channel.

5.1.1 Physical Camera Aperture Setting

As for the physical camera 1, 2, 3, 4, you can set the

“Parameter setting” sub-tab in “Option window” as

the current tab. Then you can set the value of Fov, Pan

and Tilt in “Lens setting” column.

As for the cameras equipped with tracking sensor,

it supports the virtual backgroud pan or tilt. Through this feature, you can adjust the

position of foreground objects in virtual studio to achieve a rational perspective

foreground relation in different cameras with the movement of pan and zoom.

As for the cameras without tracking sensor, it can zoom in virtual background

through the same operations in the Zoom, Pan and Tilt in virtual camera. The values

after configuration will be saved to the project file altogether, which can be used

directly next time.

Note: the virtual movement includes the corresponding movement of virtual

live video. Therefore the moving operation will not change the relative position of

5.1 Camera Functional Module





- 44 -

virtual live video and virtual scene.

5.1.2 Camera Foreground Mask Effect

As for the graphics or background with Alpha channel, click the 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:

Note: Mask effect is an independent function of each camera, including graphic

camera and video camera.

5.1.3 Infinite Blue-box Function

When the “Infinite blue-box” in option window is selected to current, it can

activate the infinite blue-box function of each camera, as is shown in the image

following:





- 45 -

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.

5.1.4 Virtual Camera Foreground Setting

As for virtual camera 5, 6, 7, 8, when the “Parameter setting” sub-tab in “Option

window” is set as the current tab, you can set the camera inter-bind with the aperture





- 46 -

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:

FG attach setting: Foreground attach is to bind a fixed aperture camera to

virtual movement camera and bind the foreground view of aperture camera to the

virtual movement camera.

Note:

When setting the movement track in virtual movement camera, you can

set simple movement track through “First frame matching” or “Last frame matching”.

5.1.5 Virtual Movement Camera Track Broadcast Control

As for the virtual movement camera 5, 6, 7, 8, you can control the preview of

completed movement track through the broadcast control button in “Option window”.

Also you can adjust the key-frames of “Camera position” “Target position” and

“Aperture setting” on timeline and set the duration of movement track.

: Jump to last key-frame point





- 47 -

: Jump to next key-frame point

: Delete key-frame

: Linear key-frame setting. When the icon is activated, the transition will be

smooth, which is shown as linear condition. When the icon is off, the key-frame

will be processed with the value preset.

When the “Edit” window is in “Live video” channel, it is able to configure

each live video functional module.

5.2.1 Live Video Window Creating and Parameter Setting

Select “Live video” channel in “Edit” window, and activate the visual icon

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.

Off-set：Adjust the position relation of live video in 3D space through off-set

attribute. By setting the coordinate X, Y, Z, you can place the live video to the

position you need within the 3D space.

Rotate: Rotate the live video in all directions within 3D space, bringing the live

5.2 Live Video Functional Module





- 48 -

video closer to scene model.

Size: Configure the size of live video through size setting.

5.2.2 Live Video Source Select

Select video window and click “Video” sub-tab in “Attribute setting”

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”.

5.2.3 Live Video Transparency Attribute Setting

By clicking the “Alpha” sub-tab in “Attribute setting” window, you can activate

the transparency switcher to set the transparency attribute of live video, as is shown in





- 49 -

the image following:

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:

5.2.4 Live Video Move-in/out Effect Setting

After clicking the “Full screen effect” sub-tab in “Attribute Setting” window, it is

able to set various full screen effects to live video, as is shown following:

Direction of flight: When the in a certain direction of the frame is selected in

“Direction of flight”, you can control the live video moving in the direction to full

screen, where the moving speed is controlled by the live video timeline.

Amplitude of Fx: When the moving direction of live video is determined, it needs to

control the move-in and move-out track of live video in 3D scene. The effect

parameters are the range of live video move-in and move-out effect in 3D space.

Rotary control (laps)：

The rotate control value is for controlling the live video rotate

parameter in directions X, Y and Z in the phases of rolling in and out, which are -1, 0

and 1. When the value X (Y, Z) is 0, the object do not rotate in axis X (Y, Z); -1 and 1

Move-in Duration

Drag the timeline

to set the length of move-in/out durations

Move-out Duration





- 50 -

stands for clockwise and counter-clockwise respectively.

5.2.5 Live Video Mask Texture Effect Setting

You can click the “Wipe” sub-tab in “Attribute setting” window and right click

the “Mask” sub-attribute switcher to set the live video mask attribute. Then double

click the relative mask template, as is shown following:

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”.

5.2.6 Solid Attribute Setting

Click the “Solid” sub-tab in “Attribute setting” window and double click the

selected solid model to import to the scene. The system supports the input of solid





- 51 -

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.



Chapter 6 Model Functional Module U-Set 3D Virtual Studio System User Manual


52

Chapter Six Model Functional Module Instruction

In this chapter, we mainly focus on the Model Creating and Editing and Model

Covering.

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)

You can create and edit model in the system; also you can create and edit model

in U-Set system with the tools within the system or design the model in external

software and import into system for editing.

6.1.1 X Model Creating and Editing

6.1.1.1 Input X File

You can create model or model motions in 3D

software (3dsMax for example); then output the .X file

to the directory the same as the material resources.

In U-Set 3D, you can click the CG channel and

select “Model” button to input model file. Also you

can input model from the visual model channel resource

manager: right click the resource manager and click the

option “Input” in the pop-up menu to input the .X file

saved before.

6.1.1.2 Create X File

Invoke the model file by double clicking the “Input .X file”. The file will be

added to 3D preview window in edit window as a solid.

6.1 Model Creating and Editing





53

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.

6.1.1.3 Edit X File

When a solid is imported into resource manager, you can view the attributes,

preview and the name of solid in the attribute setting window.





54

6.1.1.3.1 Texture Attribute

The solids in model channel are the models created in 3D software (3DsMax,

etc.); therefore lots of texture is included in the objects. That means in model channel,

each texture will have independent color setting, texture setting, Power setting and

Enviro setting from “Object texture” and “Texture 1” to “Texture N” (N stands for the

texture number).

Texture setting includes the name of texture and the picture for mapping, which

comes from the image imported into resource manager.

We have offered four different options in color setting, which are Diffuse,

Ambient、Specular and Emissive, to configure the illumination and reflection effect of

3D model from various angles. The transparency of each color can be controlled by

the transparency control button.

The values of Power and Enviro are in accordance with the color intension

setting of Diffuse、Ambient、Specular and Emissive. The solid texture attribute is

shown as follows:





55

6.1.1.3 2 Track Attribute

Click the “Position” tab in “Track” attribute and activate the “Keyframe

Effective” button, as is shown in the image following:

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





56

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.

6.1.1.3.3 Disturbance Attribute

Disturbance attribute stands for the disturbance effect applied to the moving,

rotating and zooming in move-in, stay and clear phases. Click the “Disturbance” tab

and activate the “Disturbance enabled” button to configure the frequency and range of

the disturbance in moving, rotating and zooming, as is shown in the image following:

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





57

the extent of (X), as is shown in the image following:

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:

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;

Broadcast Duration

In Stay Clear





58

: Brings timeline 1 frame backward;

or : timeline plays or stops, with Space as the shortcut key;

: Send timeline 1 frame forward;

: Send timeline to the last frame.

: Calculate the objects’ broadcast duration by clicking the button, like the

animation sequence and rolling bump character, of which the broadcast length is

variable.

Note: The zoom proportion of timeline can be altered by dragging the slider at

the lower left of timeline.

You can click the triangle above and adjust the length of each time phase by

dragging; also you can right click the timeline and type in the corresponding time

value, where the time unit can be frame, second or minute, as is shown following:

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.

6.1.2 System Template Invoking and Editing

In model channel, click the “Model” button on tools bar to switch the resource

manager and attribute setting window to the page with templates for templateselecting, as is shown following:





59

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.

6.1.3 System 3D Character Creating and Editing

You can refer to 7.1 Character editing for the instruction of system 3D character

creating and editing.

6.1.4 System Geometry Creating and Editing

You can refer to 7.2 Solid editing for the instruction of system solid creating and

editing.

6.1.5 Model and Solid Broadcast Control

Click the icon on tools bar or click the “Broadcast mode” in the

“View” menu in edit mode, and then the system will shift to broadcast mode, as is


Play control window: in this window 10 broadcast items F1 to F10 is displayed in

model select window, which are corresponding to the 10 model objects in model





60

channel marked from F1 to F10 according to the create order. Click

“Preview”——“Play” ——“Stop” to control the broadcast of each model, or you

can click the button of “Play all” to play all the items which contain model file.

Play preview window: in this window, the PGM window is displaying the model file being broadcasted, while the PVW window is displaying the preview of model

file.

.2 Model Covering

When the virtual scene and the model object are real 3D, the model in virtual

scene obtains 3D coordinates, which can achieve mask effect with any object

including foreground, live video and other objects through adjusting the position of

model in the scene.

In system when the background and foreground overlapped output without any

composition, the foreground is overlapped onto the background, also the scene

graphic. Therefore the foreground without any composition is in the front of Alpha

channel, and when the composition signal outputs you can see the person in

foreground is moving in virtual scene. The depth relation of model file is set by

adjusting the value Y of the scene model and the value Z of camera, which achieves

the effect of “Live video Solid Foreground Alpha channel” to generate

better model covering.



Chapter 7 On-Air CG Composition U-Set 3D Virtual Studio System User Manual


- 58 -

Chapter Seven On-Air CG Composition Function

In this chapter we shall focus on the CG object setting in character channel. Any

CG objects set in this channel will be composed on the virtual graphics. It means that

the channel mainly completes the task of the CG adding on virtual composition

graphics, including character editing, solid editing, graphic editing, animation

editing and the editing of other tools.

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.

7.1 Character Editing





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Note:

you can set the “Face”, “Border”, “Shadow” and “3D (3D borders)”

attributes to each character. All the attributes above can be set together, which means

the overlapping effect can be applied to all the attributes.

7.1.1 Text Edit Window

The text window is available in whatever attributes edit modes. There is “Font”

and “Typeset” attribute tabs in text edit window. In “Font” option, you can configure

the settings of font, bold, italic, height, character space and line space.

Meanwhile you can follow the next steps to insert picture into character: first,

move the cursor to the position where a picture is needed, and then click the button

to create a “Frame mark” in text edit window. Second, activate the “Paste” sub-tab in

“Face” attribute and select the picture needs to add in resource manager to finish the

operation. If you need to set the effects of “Border”, “Shadow” and “3D border” to the

picture, select the mark of the picture at first, as is shown in the image following:

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:

Image position P





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7.1.2 Character Face Attribute Setting

（

1）

Character Face Color Filling

After clicking the “Face” tab, activate the “Face” switcher and select the “Fill”

attribute sub-tab. There are three patterns in “Face filling”: no filling, monochroma

filling and gradient filling.

When clicking the “Monochroma filling” button , you can select a relative

color in palette, which can be preview in preview window and added to user template

for further using. When clicking the “Gradient filling” button , the gradient filling

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:





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The resource manager will shift to gradient grayscale

mode, as is shown on the right; double click the gradient

pattern you need and preview the effect in effect box.

Click a certain key to set the color and transparency of

the key. If you need to add keys, double click the position of

the key-knot to finish the adding; also you can delete a key by

selecting the key and clicking the “Delete” button.

Meanwhile it is able to alter the gradient changes by setting the value in .

When the number of gradient times is over 1, you can choose 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

（

2）

Character 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


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.

（

3）

Character face effect setting





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When the “effect” sub-tab is selected while the “effect” switcher is activated,

you can configure the character face effect, including character extrude and face blur,

as is shown in the image following:

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.

7.1.3 Character Border Attribute Setting

Click the “Border” attribute of character to activate the border switcher and

configure the border effect and the relative attributes. Most of the attributes in

character border are the same as in character face, and it supports the border width

setting in “Width” attribute column, as is shown following:





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7.1.4 3D Character Border Attribute Setting

After clicking the “3D border” attribute tab to activate the switcher of 3D border,

you can configure the 3D border effect to character and alter the related attributes.

Most of the attributes in character 3D border are the same as in character face, except

that it supports the setting of slope angle and width of 3D border in “Effect” attribute

tab, as is shown in the image following:

7.1.5 Character Shadow Attribute Setting

After clicking the “Shadow” attribute tab to activate the switcher of shadow, you

can configure the shadow attribute to character. Most of the attributes in shadow are





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the same as in character face, except that there is only the setting of “Blur” in the

“Effect” attribute sub-tab in character shadow and no the option of “Bump”, as is


7.1.6 Character Moving Track Setting

When you need to set moving track to characters (including text and title

characters), select the relative character and click the “Track” tab to set the attribute.

Click the “Position” tab in “Track” attribute and activate the “Keyframe

Effective” button, as is shown following：

When the “Keyframe Effective” is activated, the system will add two key-frames to





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the last frame of move-out phase and the first frame of clear phase. Here the two

key-frames are in the same position, and you can move the keys to the appropriate

position with the “Move” tool on tools bar. If it is necessary to add a key-frame to a

certain phase, move the timeline to the position where a new key-frame will be added.

The object will be moving in the corresponding track alongside with the 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

key-frame delete button, as is shown in the image following:

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.





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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.

7.1.9 Character Delay Effect Setting

The character “Delay” effect stands for the effect delay between characters in

move-in or clear phases. Please notice that the delay effect is only effective in the

move-out and clear phases. You can click the “Delay” tab and activate the delay

switcher to configure the delay effect.

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.

7.1.11 Character Space Effect Setting

Click the tab “Space” and activate the “Space Enabled” button to set the

character interval, as is shown follows:

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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clear phases, configure the key-frame of character interval, which is only effective to

the move-out and clear phases.

You can activate the “Keyframe Effective” button to set the character space

key-frame and achieve dynamic character effect

7.1.12 Character Wave Effect Setting

Character wave effect is the wave movement of characters in move-out, stay and

clear phases, as is shown following:

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.

7.1.13 Rolling Effect Setting

The 3D attributes are applied to all the characters in U-Set, thus it is able to

achieve various effects in character rolling effect, including rolling to the left, rolling

to the right, upwards, downwards, inclining upwards, inclining downwards, inwards

and outwards.

After title adding, click the “Rolling” attribute in attribute manage window and

activate the switcher of “Rolling enabled” to enter title rolling effect edit window,





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where you can set the rolling direction and rolling speed to achieve rolling effect. If it

is necessary to add other rolling effects to title object, like rolling right, upwards,

downwards, incline upwards, inwards and rolling outwards, you need to set the

“Typesetting” in the “Text edit-box” of title object, as is shown following:

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.

7.1.14 Character Curve Placing Effect Setting

It is able to set the curve placing effect and alter its relative dynamic changing

effect through the setting of the key-frame, as is shown following:

Click “Curve” attribute tab to set the curve value of title. If you need to set





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key-frames in move-out phase and clear phase, activate the “Keyframe Effective”

button.

7.2.1 Create Solid

Click the solid object create button on tools bar to create graphics, and

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

7.2 3D Object Editing





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: Delete node or control knot

: Resize the graphics automatically

: Horizontal specular, flip from left to right

: Vertical specular, flip from upside down.

: Save as sample, save the completed solid as sample

Each graphic includes the attributes of face, border, shadow, 3D border, track,

transparency and disturbance, and the setting method is similar to character, which

will not be repeated here. Next we will talk about the settings of the attributes not

included in character, wipe effect, wave effect and light effect.

Click the wipe attribute tab of graphic object, you can see the three sub-attribute

tabs of “Wipe”, “Mask” and “Texture”. Next we will talk about these effect settings.

7.2.2 Solid Wipe Effect Setting

Click the “Wipe” tab and activate the wipe switcher to view the wipe effect

grayscale images in resource manager window. Then double click a grayscale image

of the wipe effect to select an effect pattern. If it needs to set move-out and clear

effect to CG wiping, activate the “Keyframe Effective” button and set the

corresponding wipe patterns to move-out and clear phases as well as the scale of

key-frame completion, as is shown in the image following:





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Besides, you can set the wipe effect range in graphics by activating the relative

buttons, including face, border, shadow and 3D border.

7.2.3 Solid Mask Effect Setting

Click the solid mask attribute tab and activate the switcher of “Mask”, and then

the relative grayscale images of mask types will appear in the resource manager

window. Double click the grayscale image of mask types to select the mask type. You

can set the range of the mask effect on solid, including the four parts of face, border,

shadow and 3D border, while you need only activate the corresponding buttons. If the

button of “Direction flip” is activated, you can exchange the area covered by mask

image and the display area, as is shown following:





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7.2.4 Solid Bump Effect Setting

If it needs to add wave effect to solid, you can click the “Bump” tab to display

the relative wave effect in resource manager window. After double clicking a wave

pattern, configure the corresponding parameters in “Frequency” and “[x]Amp” to set

the wave effect range on object, including face, border, shadow and 3D edge. Also it

can configure the key-frame of wave amplitude with the operations mentioned above,

as is shown following.

7.2.6 Solid Light Effect Setting

If you need to add light effect to solid, activate the “Light effect” switcher to

display the relative light effect in resource manager window. Then double click a light

effect pattern and set the corresponding parameters in “Frequency” and “[x]Amp” to

complete the real-time light effect adding on solid, as is shown in the image

following:





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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.

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.

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

7.4 Animation Editing

7.3 Graphics Editing





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program. In U-Set 3D you can configure the values of the shadow, track, transparency,

disturbance, wipe and move-in/out point of the imported animation sequence file to

enhance the dynamic effect of the animation sequence in program.

7.4.1 Animate Object Creating

You can click the animation create button to create an animate object, and then

the resource manager window will shift to corresponding animate file window, where

you can select an animate file by double clicking, as is shown following:

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.

7.4.2 Animation Sequence Input

When you need to input animation sequence file, right click the relevant animate

resource manager window and select “Import”, as is shown on the right:





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The operation of particle sequence file input is similar to the operation of animate

sequence file input, thus you can refer to the sections above for guidance.

7.6.1 Template Invoking

Template invoke: Used for adding the template saved in system. Double click

the template or drag the template you need into the “Sample” script, and then input

the template by clicking the button , as is shown in the image following:

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 ：

7.6

Other Buttons on Tools Bar





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The definition of the icons in the “Sample” mode of attribute setting window:

: Delete all the objects in current page, which means to delete all the objects

in edit window;

: Clear the content of script, which means to clear all the scripts in sample;

: Adopt the default position when create characters;

: Character expands in vertical direction;

: Character expands in horizontal direction to the right;

: Character expands in horizontal direction to the left;

: Load the content of template as well when the template is loaded.

7.6.1 Save Template File

To save a template file: select the single object,

multiple objects or object set needed to be saved as

template, and then right click the object. Next select

the option of “Save as resource” in the pop-up menu

and type the file name to save the template.

7.6.2 Other Operations on Template

Move: move object and character.

Rotate: Rotate object. There are 3D space relation in all the objects and

characters, and you can set the object or character in the space rotate

round axis X, Y or Z respectively.

Zoom: Resize character and object. The difference between the zooming

operation on character, including text and title, and on object is that

you can resize the character as well as the base board of character; as





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for object, there is no base board.

Delete: Delete the selected object or character.

Assemble: When multiple objects are selected, you can click the button to

assemble the objects into a template, which will have only one

broadcast attribute in broadcast mode.

Disassemble: When a template group is selected, you can click the button to

disassemble the group. The objects in the template group will hence

become independent objects containing independent broadcast attribute

in broadcast mode.

Layer bring forward: Adjust the layer relations of selected object or

character, bring the object one layer forwards.

Layer send backward: Adjust the layer relations of selected object or

character, send the object one layer backwards from the former

display relation.



Chapter 8 Chroma-key Setting U-Set 3D Virtual Studio System User Manual

Chapter Eight Chroma-Key Setting

The chroma-key setting in U-Set 3D will be presented through the following

parts: The Features of Chroma-key, Chroma-key Workflow Principle,

Illumination Setting and Chroma-key Settings

8.1

The Features of Chroma-key in U-Set 3D

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

U-Set 3D Chroma-key Workflow Principle

U-Set 3D chroma-key foreground process: In the real foreground graphics

which is formed by blue curtain and foreground objects, the bright blue curtain

reflection may leave disturbing blue shadow to foreground objects. What’s 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

Appropriate illumination setting is the key to composed reality performance. If

the illumination is not properly set, the compounded CG may look unreal; or even

worse, the U-Set 3D chroma-key may not work properly.


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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:

1、Ensure the power of illumination on foreground object is coincident with the

illumination on the blue curtain.

2、Ensure the color purity of blue curtain (which means the Red and Green light

on the reflection from blue curtain is little).

3、Ensure the equality of the illumination on blue curtain and the stability of the


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color temperature on different area. In order to represent shadow in U-Set

chroma-key, the brightness of the background in composition graphics is

controlled by the brightness of the objects on blue curtain. When you are

setting the illumination to the blue curtain, you should have the imagination in

mind that you are setting the illumination to the composition graphics. The

dark area on blue curtain will generate a same dark area on the composed

virtual scene.

If the illumination setting is unequal, although the background power can be

adjusted, when the background power is adjusted to coincide with the dark area of

blue curtain which can be represented in composition graphics veritably, the rest area

of blue curtain will be brighter, making the edge of FG object and BG thicker in

composition graphics. Conversely, when the background power reaches the

requirement of blue curtain bright area, the dark area and shadow will represent in the

background of composition graphics. Both of the situations can not guarantee the

quality of final output, thus the illumination of blue curtain must be equal.

Another problem of your concern is the color temperature equality of blue

curtain illumination. The uneven color temperature may cause color deviation in the

edge of FG objects in composed graphics. One main reason for the color temperature

is using illumination configuring device. The illumination configuring device will

bring down the illumination by reducing the illumination voltage, which will reduce

the illumination color temperature alongside. The other reason for blue curtain color

temperature unequal is that there is a colored object which is large enough in studio,

and its reflection causes the color change in certain part of blue curtain.

Diffuse setting

The light diffusing on blue curtain may cause fog area on background of

composed graphics, and it can be eliminated by appropriate illumination setting.

Another solution is to use polariscope, which can reduce the influence of light

diffusing. In this situation, it is necessary to alter the exposure and white balance of

the cameras.

The illumination on top should not face the ground directly, or the diffusion light


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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

U-Set 3D Chroma-key Value Setting

The chroma-key value setting is mainly completed in chroma-key setting

window, including the settings of digging effect, shadow and reflection of foregroundobject in video camera.

8.4.1 Digging Value Adjusting

When the “Digging” tab is the current tab, you can configure the parameters of

digging, as is shown in the image following:

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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Softness: Control the edge softness of foreground graphics.

Chroma Suppression: Adjust the suppression of foreground color.

Spill Removal: Adjust the power of dark color on foreground.

: Set the value to be default setting.

: Select matte composition output.

: Select virtual background direct output.

: Select camera foreground direct output.

: Copy the current camera digging value to chipboard.

: Paste the digging value from chipboard to current camera.

: Save current digging value sets as digging value file.

: Load the digging value file saved before as the current chroma-key.

: Click to output with the foreground overlapped on background.

8.4.2 Video Camera Foreground Shadow Effect Setting

The system supports the settings of reflection effect in virtual 3DS scene, virtual

object and foreground. By setting the strength of reflection and off-set, it can generate

real visual effect in virtual scene. When the “Reflection” tab in “Chroma-key”

window is switched to current, you can set the reflection effect in scene.

When the “Enable Reflection” in chroma-key 1 is activated, the system

supports scene creating and foreground shadow, where you can adjust the Intension


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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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effect on the ground.



Chapter 9 Broadcast Workflow



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Chapter Nine System Broadcast Workflow

After system initialization (system setting, scene loading, camera placing and

camera initialization) and the setting of each functional module (camera module, live

video, character and chroma-key adjusting), the system can move on to broadcast

mode to start virtual studio program record.

In edit mode or live video list edit mode, you can click the 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 Dual Channel System Camera Switching

In U-Set workflow, it is necessary to apply the move-in, move-out and transition

shootings in video movement camera to achieve aerial shooting, arm pan and track

shooting effect. In program recording, you can switch the effect in different cameras

through the effect switching control.

Source: Control the switching camera, with PGM as real-time output, PVW as

preview for alternative camera; the camera switches between PGM and PVW.

Effect: Select the effect for switching.

Speed: Camera switching speed.






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In daily use, the video movement cameras 5, 6, 7, 8 can be applied to the

move-in, move-out and transition in the column, which can achieve aerial shooting,

arm pan and track shot effect. It is able to fully represent the space perspective and

add shadow and reflection to foreground person, which achieve the perfect integration

of virtual studio and real foreground.

In program recording, you can achieve different scene camera switching by

controlling the graphics camera 1, 2, 3, 4. As for the camera equipped with

electromechanical tracking sensor, the virtual scene will move synchronically with the

pan, tilt and zoom moving, thus the camera can be operated by camera man in

program recording. As for the camera without electromechanical tracking sensor, the

camera can not be operated during recording, so you should choose the scene before

recording and adjust the value of “Zoom”, “Pan” and “Tilt” in the “Aperture setting”

in the camera to accommodate the virtual scene to foreground graphics.

9.2

Live Video Broadcast Control

By clicking the “Live video broadcast” tab in “Broadcast control” window in

broadcast mode, you can control the broadcast of live video object.

Click “Preview” to preview the live video object to be broadcasted, and then

click “Broadcast” to broadcast the live video, with the corresponding short-cut key

from F1 to F10.

In live video broadcasting, the “Preview” button will change to “Full screen”,

which you can activate the full screen effect to live video according to the preset track.

By clicking the “Revert” button, the live video will revert to the original size in

accordance with the reverse track of the effect.

Broadcast control window is shown as in the image following:






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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

On Air CG Composition Broadcast and Control

In play mode, you can click the tab “Character broadcast” 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.






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9.4 On Air CG Composition Replace Mode

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 d

e character content has

upda

et loop broadcast mode to character broadcast: click the button of “Loop

broad

ast mode, click the “Clear”

butto

mple to introduce how to update the

ouble click the character bar again to close the textbox;

c. Broadcast the character again, then you can notice th

ted;

d. S

cast”. 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 broadc

n 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 exa






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content of image in broadcast mode.

a. Click the “Advanced mode” button;

b. Double click the image needed to update and pop-up the image update

edit-box; make sure the image broadcast has stopped, as is shown following;

c. Click the “Add in” button to add the template of graphic needed to update, as

is shown in the red-frame following; then double click the image in the resource

manager window. You can invoke multiple images from image manager for alternate

updating, and then click the image you need. Double click the image bar to close the

image edit box.

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.



Appendix 1: Video Scene Creating U-Set 3D System User Manual


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Appendix One: Guidance of Video Scene Creating

1. Scene template creating concept

The Scene design in U-Set 3D is open and simple to our users. With the 3D

software, like 3DsMax, Softimage and Maya, you can create the 3D virtual scene

which can be used in U-Set 3D. It adopts pre-render mode into all the virtual scenes to

offer high-quality and high-sense reality effect of broadcast level without the limit of

scene creating complexity (number of triangle), texture size and number of

virtual lighting. What you have to consider is how to exert your imagination to build

up the scene in your dream.

You can follow the scene creating concept of 1:1 proportion of virtual scene to

real scene to start scene model creating.

Take 3DsMax as example, for the convenience of 1: 1 model creating, we need

to set the unit in the software to metric system, with the setting operation shown in

Image 1 and Image 2 following:

Image 1 Image 2





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2. Virtual camera setting and rendering concept in aperture

scene

Regardless of the cameras with transmit tracking system or not, the setting and

scene rendering in relative virtual camera must follow the next concepts:

1. The type of virtual camera should set to Target Camera;

2. The aperture should set to 90 degree;

The setting method is shown in Image 3:

Image 3

3、

The relative position of virtual camera should be coincident with the

relative position of actual camera, where the height of virtual camera should

be the same as the actual camera;

The 3D coordinate system is shown in Image 4, which is the same as in

3DSMAX. The concept is still available in Maya or Softimage, where you need only

to convert the relative coordinates.

Z

X

Y

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 ΔX Real＝ΔX Virtual， ΔY Real＝ΔYVirtual, as is shown in

Image 5:

Cam2

Cam1Blue-box

ΔY Real

ΔX Real

ΔY Virtual

ΔX Virtual

Image 5





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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.

4、

The Tga graphics rendered in each camera is 32 bits, 2048

1024

resolution graphics;

5、

The 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.

3. Virtual camera setting and rendering concept in moving

camera scene

In U-Set 3D, the large scale aerial shooting in movement camera does not requireexpensive arms or rails, where you can achieve virtual aerial shooting effect like a

Hollywood film with the operation following: first, configure multiple moving tracks

of virtual cameras, and record the corresponding coordinate value of key-frame

positions; second, render the Tga or RPF animation sequence in each movement

camera; third, input the rendered animation sequence to U-Set 3D and enter the

corresponding coordinate value of key-frame positions.

The setting and scene rendering in movement camera must follow the next

concepts:

1、

Set the virtual camera type to Target Camera;

2、

Set the aperture of virtual camera to 45 degree;

3、

To guarantee the broadcast level standard, the length of animation in

movement camera is half of the original length after imported into

U-Set 3D. It is a matter of your concern in camera movement design;





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4、

The size of each frame rendered in each camera is: 720

576 (PAL), 720

480 (NTSC), which the format is 32 bits Tga or RPF. The setting of

RPF is shown as in Image 6:

5、

In every key-frame of each movement camera in Tga sequence (including

the position of virtual camera and the position of the target center of

virtual camera), it should record the coordinates X, Y, Z and input into

U-Set 3D; 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.

Image 6

Note: No virtual camera information needed in RPF (still the live video

window information is necessary).

Suggestion: in order to achieve a comparatively real movement shooting

effect, we suggest that at the beginning and ending of movement in virtual

camera movement track setting, users should provide at least 5 frames for

keeping the camera stable.

4. Foreground cover setting and rendering concept in moving

camera scene

In virtual camera movement, if it is necessary to represent a rational perspective

relation by covering the real foreground with virtual object, we should select this

virtual object alone and conceal other objects in virtual scene. The virtual object will





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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:

Image 8 Full scene rendering Image 9 Virtual cover object single render

Image 10 Single rendered Alpha channel of virtual cover

5. Full screen setting of virtual movement camera first frame or

last frame

In 3DxMax, it supports the foreground graphics zooms to full screen by setting

the first frame or last frame of the virtual camera movement track, which is able to

avoid foreground graphics distortion in zooming. Therefore you can see the

movement camera as a physical camera for broadcast switching, with the setting

operations listed as follows:

1、Determine the position of foreground person in virtual scene

For example, as is shown in Image 11, the position of anchor in the scene:





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Image 11 Foreground position in scene

2、Create foreground reference box in 3DsMax

Still we take the scene above for example. Create a box object in 3DSMAX and

make it the reference box for foreground graphics;

First, in vertical view, the box should be placed to the position of foreground

person, as is shown in Image 12. The height of Box should be on the ground of virtual

scene.

The Box ob ect is eference boxr

Image 12 Foreground position in 3DMAX

Second, determine the size of foreground box. In virtual system, the position and

proportion of foreground can be altered flexibly, as is shown in Image 13:

Image 13 FG setting in virtual scene





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If the proportion is set to “2”, the height of foreground reference box should be 2

M, therefore if the foreground is SD signal, the width should be 2*4/3=2.6667 M; if

the foreground is HD signal, the width should be 2*16/9=3.5556 M.

3、

Configure the positions of first frame and last frame of virtual

camera in 3DsMax

Firstly, set the target positions of first frame and last frame of virtual camera in

accordance with the coordinate of reference box;

Secondly, set the value X and Y of the initial positions of first frame and last

frame of virtual camera in accordance with the value X and Y of reference box;

Finally, adjust the value Y of the initial positions of first frame and last frame of

virtual camera with moving tool, making the aperture line contains the foreground

reference box, as is shown in Image 14 and Image 15 following:

Image 14 Position of first frame or last frame in camera

Image 15 Virtual Cam First Frame and Last Frame

Of course, we can calculate the coordinate of value V with trigonometric

functions, with the formula as:

Value Y of camera=Value Y of Box+Box Width/2*arc tan(camera aperture/2)

As is shown in Image 16:





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Appendix Two: Instruction of Model Scene Creating

In U-Set model mode, the resource file is 3DS file, and the mode is real-time

render mode in virtual studio. Based on the consideration of system process capability,

it should bake the scene created in 3DSMAX to be single material source, with the

operation as follows:

Take the scene created in 3DsMax for example:

I. Set the object size unit to meter, as is shown in the image following:

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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IV Set the directory to save the bake texture, as is shown in Image 3:

Image 3

V Add texture element. Select CompleteMap, as is shown in Image 4:

Image 4

VI Set the element’s 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.

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