THE ANALYSIS OF THE ‘VIRTUAL TELEVISION STUDIO’ AND
‘THREE DIMENSIONAL VIEW’ AS A COMMUNICATION PROCESS
Pelin YILDIZ, Lecturer
Hacettepe University TURKEY
peliny@hacettepe.edu.tr, plnyildiz@yahoo.com
The subject of my MA Degree (1997) was about ‘The relation of the stage and audience in
theatre buildings’. And Afterwards the subject of my PHD (2001) is ‘The flexible and
changeable usage of interior designs of television studios according to aim’. I am
interested in theatre stages, television studios by contemporary means and flexible usage,
modular systems in sets, communication in general, media, virtual systems etc. I want to
concentrate on communication and media design more, because I want to study the two
important disciplines; interior architecture and communication together. Especially
subjects related with virtual design in media is important in my studies.
Abstract
Communication in the new millenium is of great importance in all areas. Through
communication and all the related concepts, the culture of globalization can grow and
prosper day by day. One of the most important problems in communication is ‘time and
space’. The aim of this work is to suggest flexible usage of systems in television studios
and to study the ways to be used in saving time and space. People can communicate with
each other by different technical means related with media like TV., newspaper, radio etc.
This type of communication can be both real or virtual. The virtual standards of
communication is the newly developed technology which is more practical and easier.
A virtual television studio is a communication medium more important and preferable to
other media as it requires less effort and saves time. The three dimensional view is an
important communication approach both in the virtual television studio technology and
other areas. This kind of interaction with other systems is of great value because of its
flexible and multidisciplinary usage. Also by means of a three dimensional approach, the
optimum usage of a television studio interior in all respects will be fulfilled. Our aim is to
understand the importance of the new technological systems and the developments in
communication as they relate to media and then adapt these developments for our
lessons by updating our lessons every year. In other words, we think that these new
technologies should be integrated into our courses supported by practical work. In this
way, we will be better informed about the new developments in the field and thus
through advanced techniques, methodology and enthusiasm, will keep pace with the
progress in the modern world.
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THE ANALYSIS OF THE ‘VIRTUAL TELEVISION STUDIO’ AND
THREE DIMENSIONAL VIEW’ AS A COMMUNICATION PROCESS
INTRODUCTION:
I am an interior architect. But I do believe that space is a language. A language which
expresses the style, the time, the culture, the dimension, the meaning and everything
related to life and people. As language is an important element for the communication
field, then, the language of space is the most important component both for space
planning and communication scholars. We can see that new media have been taken up in
music, films, fashion, magazine, book publishing, and education etc. Both architecture,
interior architecture and also urban design have also started to incorporate new media
technologies. Interior architecture is a place, a real place, which you experience by
visiting. It is deeply rooted in the larger world and in the issues that originate from the
introduction of new techniques. As interior architects we are obliged to look for relevance
in contemporary practices, events and technologies in the global world and sustainable
surrounding. World is developing (Thwaites, Davis, Mules, 2002).
The expansion of the spatial imagination, the radical break with a hierarchical design
approach and the introduction of different disciplines into the design process are the
three most important architectural potentials of the new mediation techniques, relating
the design immediately to its realisation. To begin with the first: the new spatial modes
displayed on computer screens result in a general familiarity with the potential of a
multidimensional spatial experience. Computer generated special effects express a
delight in explorative spatial situations, leading to a rapid increase in the capacity for
spatial conceptualisation. The digitalisation of design practice in architecture takes
various forms. All types of these design practices are visual concepts of great
imaginations in a space (Kaufmann, 2001). The choice of computer software is an
important factor in the procedure of the technique as different applications contain their
own rules and instrumentalising qualities.
At the moment, there are some basic dominant approaches to computational and
mediation techniques: the first sees the new techniques as a way to realise a virtual
reality, which is related to the radical physiological interventions, disenfranchising social,
political and economic powers and inanimate environment of cyberspace.
The mediated world implies that new media have massively overshadowed the
communicative powers of architecture. For now, interior architecture can not be fully
virtual and at the same time be a real, solid place that can be physically entered. It is only
possible to extend and enrich architecture with virtual means. This entails a specific use
of mediation techniques, to some extent overlapping with the process of hybridization.
The most important consequence of this interpretation of computer architecture is that it
explores the inventive and utopian potential of the new media techniques and expands
boundaries.
Designing with computational techniques involves abandoning the traditional hierarchy
of a design approach that begins with the plan. Today, we begin with a point. A point in
three dimensional space. The architectural drawing, a scaled down, two dimensional
representation of an aspect of a building, is obsolete. A project is built up in three
dimensions and with its real measurements in the infinite mediation space. Having
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captured this space within a personal computer station is having confined it to
proportions which enable us to manipulate, divide and layer this space. (Blythe, Mc
Reynolds, 1999).
Three dimensional modelling already dispenses with the idea of the designed object as
the construction of outlines and instead begins with a point; animation abandons even
the network of points and works with the interrelations of parameters and forces. The
object is formed as the result of this process; it is the solidification of energies acting on
each other, as in a chemical experiment. The animation technique involves setting up a
design path. The end result is subject to change as long as the project follows its course. 3
D modelling is one of the basic elements for visual communication (Hilton, Starck,
Collins,2002).
A television studio as a communication process:
A television studio interior is one of the most important elements of communication
process. It has a great potential of integrating societies and communities together at the
same time. In this work the interior organization of studios by contemporary means will
be analyzed.
As a general we can categorize the tv sets in four categories. RepresentationalSupportive, Symbolic, Realistic or Replica, and Fantasy (Whittaker, 2005).
Most studio sets are Represential-Supportive, which is a bit of scholarly and probably
unnecessary jargon for a set that represents the nature of the show and supports it in
some way. For example, a news set generally incorporates elements that in some way
suggests ʺnews.ʺ Symbolic Sets are used to suggest a realistic background without having
to include all of the details. A symbolic set is far less costly than the next category. As the
name suggests, Realistic or Replica Sets appear from the perspective of the multiple
camera angles to be authentic. The sets for dramas are normally of this type. Since they
involve considerable detail and a need to ʺhold upʺ from a variety of camera angles, they
are the most demanding and expensive type of set to build. Movie sets used to be almost
all of this type. Often, entire streets would be built for exterior scenes, or multiple rooms
of a house would be constructed. However, today, many films are shot on location using
existing settings (Whittaker, 2005).
The final category is called Fantasy Sets. This type of set is abstract and stylistic.
Sometimes a bizarre and deliberate distortion of reality. Today, this type of set is often
computer generated and ends up being a virtual set (Whittaker, 2005).
Virtual television studio
In recent years, the public broadcasters have been forced to restructure their programme
production comprehensively. In the face of fewer and fewer resources, this change which
is still going on is essential to their survival in the highly competitive and increasingly
fragmented video market. Pressure is growing to produce more and more programming
in a shorter time and for less and less money. So, in order to meet these changing
demands, the efficiency and productivity in programme production must be increased.
Two factors which are contributing towards this end are the rapid growth in the
digitization of production equipment and the increasing usage of them.
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As the resources available for television production become fewer and fewer, public
broadcasters are looking towards virtual studio technology to satisfy the need for
increased productivity with reduced costs (Rothaler, 1996). This article provides a brief
introduction to virtual studio technology. A virtual studio that allows actors to interact
with computer generated characters and creatures in real time should lead to a new
generation of programmes and films made with advanced special effects at relatively low
cost. Virtual Studios are not about recreating an uncomplicated four wall set nor a full
costume drama. They are invaluable for creating a space that could not be built, or for
supplementing a real set, such as by adding a ceiling. In this way a Virtual Studio can be
used for anything from enhancing a conventional shot to creating the ʹimpossibleʹ. Virtual
sets cut costs, even on partial productions, since they do not have to be transported or
stored as the real sets. These sets are contemporary applications (Schmidt, 1994).
When we start defining what is meant by a virtual set we can see that in basic terms, a
virtual set or virtual studio system is a tool which allows you to place live actors in
graphically generated 3D environments even for live productions. In a typical virtual
studio production, the talent will perform in front of a blue screen background. The
actual background that will appear in the final output is a graphic 3-D image that resides
in the computer. The foreground and background images are digitally composited using
a chroma-keyer. The concept is much the same as the familiar bluescreen and keying
technology used for television weather reports. The difference with virtual set technology
is that the image keyed onto the blue screen is a three dimensional graphical set that the
actors interacts with. More importantly, with virtual sets, you have the ability to move
the camera freely, and synchronizing the camera with the 3D graphical set convinces the
eye the set is more realistic. It provides a believable and visually interesting show for the
viewer, the multidimensional usage of space and time (Ju, Siebert, 2001).
The computer graphics are produced with modeling software packages and then
imported into the virtual studio software. To build a realistic set or at least one that is
believable, the software needs controls for proper texturing, lighting and model
parameters. During production, actors move about the virtual set, the camera operators
follow the action, and the set is synchronized with a true perspective. Both foreground
and background objects may be moved and manipulated in real-time; therefore, an actor
can not only go in front or behind virtual objects, but walk or move inside them.
A virtual studio system consists of four basic components (Wojdala, 2001). The camera
tracking system which will electronically or mechanically extract and calculate the
camera position parameters, a computer workstation, a 3D modeling software package
for rendering a 3D virtual set, and a chroma keyer which combines the foreground and
background for the seamless picture. Integrating real time TV images with a three
dimensional computer generated environment is achieved through software which
functions as a virtual camera that maps the images of the virtual scene including virtual
characters onto the real images. These processes are important organizations in studios
(Hilton ,Starck ,Collins, 2002).
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Figure 1 Simple diagram of a virtual studio. (Wojdala, 2001)
The design of a virtual set consumes similar time and effort to that required for a
conventional set, but requires specialist skills, combining television production expertise
with computer modelling and image generation techniques. The eye and brain are very
good at detecting when something is wrong with a picture, even if it cannot identify
exactly what. To achieve realism it is important that the perspectives match between the
foreground and background. That demands studio space. Due to the complexity of
computer generated sets they cannot be changed quickly during shooting. The scenes
must be ʹstory-boardedʹ and each shot well documented before the studio days. Each year
the technology in visualisation aids for Virtual Studio planning is getting much more
better (Mitchelson, Hilton, 2002).
Figure 2 A blue background is the main part of a virtual set. (Wojdala, 2001)
Figure 3 The set designer can organize the interior on the computer
during the planning process.
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Chroma-key technology
For many years, blue screen or chroma-key technology has been an essential part of daily
television production (Rothaler, 1996). In contrast to conventional blue screen technology,
both cameras, the real and the virtual ones, are permanently interlocked in the case of
virtual studio technology. To achieve this, the positional parameters of the real camera
need to be determined. These are: the coordinates x, y, z within the blue screenset; data
on tilts, pans, and possibly rolls of the camera; the focal distance and focal setting of the
camera lens. All these positional parameters of the real camera are then analyzed in the
computer and the control of the virtual background image is accomplished in relation to
the foreground image. In the final stage, the foreground image (with the actors and real
props) and the computer generated background image are seamlessly combined in the
chromakeyer and the output image is either transmitted or recorded on tape. (Schmidt,
1994). The presenter in the studio is recorded in front of a blue screen which is called the
foreground camera. The background (either a video image or an image created by a
graphics designer at a computer workstation) is mixed in to take the place of the blue
screen in the foreground recording. Camera movement in the studio, as well as zooming,
panning and tilting, are not possible with this technology. This significant limitation to
image composing is a result of partially unlinked foreground and background pictures
that are superimposed on only one plane by the image combiner. If a later alteration were
to be made to the picture segment, the spatial reference would be lost and the foreground
to background perspectives would no longer be correct. To overcome these
disadvantages of conventional blue-screen technology, a spatial locking of the
foreground and the background is needed. This is achieved by determining exactly all the
positional parameters of the recording camera, including the lens setting parameters.
This is the only way to lock the background perspective with the foreground perspective
and to adjust for movements of the recording camera. With traditional chromakey special
effects, the actor stands in front of a blank background covered with tiny reflective beads.
This blue background can then be replaced with a pre-recorded scene. But the technique
has severe limitations. For a start, the actor cannot see the scene he or she is performing
in, making it difficult to interact with pre-recorded or animated characters. What is more,
the director can not see the results straight away, and the camera has to stay still to
ensure that the angles match the pre-recorded scenes. These types of organizations
should be prepared carefully. All these processes need capability regarding computer
generated systems (Isdale,1993).
Acting space: All the action takes place within a virtual landscape created inside a
computer. To place an actor inside this landscape, the acting space is monitored by 12
cameras that create a three dimensional virtual model of the actor. This allows the
computer to track him or her and add them into the landscape later. (Fox, 2003)
Changing perspective: The scene is recorded through one main camera, which can be
moved during the shot. It is fitted with a separate, smaller camera that points towards the
ceiling and monitors the main cameraʹs position and orientation in relation to a set of
fixed reflective discs. With two studios equipped in this way, two actors on opposite
sides of the world could interact in the same virtual world (Fox, 2003).
Types of virtual studio
The two main systems are discussed: sensor-based systems and those which use image
analysis (Rothaler, 1996).
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-.Sensor based systems: With the sensor based process, the orientation and positioning of
the real camera in the studio space, as well as the lens setting, are determined by precise
electro mechanical sensoring devices on the camera. Depending on the practical
application, this generally tripod based method may limit the camera in its range of
movement. Exact position and movement of the camera may also be determined by
measuring the distance via laser, ultrasound, infra red or any other signalling devices.
-Systems which use image analysis: A system which uses image analysis to recognise
patterns/markers seems to be a very elegant and probably more promising approach for
the future. Either special patterns on the blue screen (e.g. stripes in different colours or of
different brightness or reference markers on real objects and on the blue wall and floor,
are used to calculate the position and focal angle of the recording camera). No additional
sensors are required in this case. The camera has complete freedom of movement within
the blue space and even handheld cameras may be used. Furthermore, no modifications
are needed to the camera equipment to switch the studio back to conventional recording
methods with real sets. From the experience that has been gained in using this method
for TV programme production, the principles of the interior usage should be developed
by contemporary devices (Rothaler, 1996).
In the simplified block diagram shown in Fig. 4 the principle of TV programme
production in a virtual studio is shown. The presenter who is acting in a nearly empty,
mostly U or L-shaped blue box is recorded by the physical or “real” foreground camera.
However, the background images (decorations, props, scenery etc) mostly in 3-D are
computer generated in advance by the graphics designer and mixed in during the
transmission or recording. This aspect of synthetic image production is referred to as
virtual and consequently the image recording system is called virtual camera.
Figure 4- The principle of TV programme production in a virtual studio (Fox, 2003).
The preparatory work and also the flow of production in the virtual studio will be quite
different from those for current television productions. Scenery, decorations and even
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props in future will be generated more and more in the form of computer graphics, using
computer aided design techniques.
Benefits to be obtained from the use of virtual sets
There are many reasons to use Virtual Studio (Wojdala, 2001). As a result the most
important of them are:
-Shorter production cycle: Virtual sets can be created quicker than real ones.
Virtual sets can be built much more quickly than traditional sets, and the entire process is
much more flexible. During the design phase of a project, virtual studio technology
allows you to change set designs as the program or commercial format and theme
materializes. During the design process you can request many design reviews and
actually put your talent into the evolving set to assess the look of various textures, sizes
and colors. Later, changes to existing sets can easily be accomplished to accommodate
new trends, formats or even special offers without incurring substantial costs.
-Better studio utilization: One of the great advantages of virtual sets is that you
can produce several programs in the same space, and that means you will no longer need
to tie up a studio with one on-going project. When a project is completed for the day,
simply load in the software for the next set and you can be ready to go in as little as 30
seconds (Rokita, 1993). The same studio can be used for different productions, the change
of a virtual set is a matter of seconds.
-Easy changes: since virtual set is not a real thing, some modifications are
possible even in the last moment. Virtual studio environments can place talent anywhere.
They have been used to reconstruct buildings which are no longer standing, provide
lifelike animation to graphically rendered characters and simulate an enormous
computer filled technology center with video walls. Virtual studio technology is also
being utilized to address specific programming issues. On location projects can benefit
from the simple design and space requirements of the virtual set. Remote interviews can
also be conducted by integrating subjects from two separate locations seamlessly in one
virtual set.
-Unleashed imagination: sets can be created, that in reality would be too difficult,
too expensive, or even physically impossible to build.
-Bigger sizes: virtual sets can be much more spacious than studios that host them,
and tricks like rotating platforms, can further enhance the impression of spaciousness.
-Live graphics effects: computer allows to enrich the set with special effects and
graphics in real time, significantly enhancing the look and making viewer’s perception
easier.
-No storage problems: virtual sets do not occupy expensive storage space.
Most television programs can benefit from using virtual sets. The types of programs that
are obvious candidates for this technology are: news programs, weather forecasts,
sportscasts, talk-shows, music programs and video clips, programs for kids, educational
programs, ads, game shows, soap operas, corporate presentations (Grau, Price, Thomas,
2001).
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-Cost savings: Through the use of virtual sets, savings can be achieved by
eliminating the costs associated with the design, construction, storage and maintenance
of sets. Other space related costs such as lighting, air conditioning and so on are also
dramatically reduced.
-Supporting multiple productions: The first step in evaluating a virtual studio is
to assess your specific requirements. You will want to determine the number and range
of productions which may be executed. This is important because some virtual studio
architectures are better equipped to support multiple productions from one blue screen
area. If you are planning only one virtual studio production, then positioning of the
cameras can be fixed.
Techniques and computer processing power have improved to the point where now
virtual sets are no longer criticized for their lack of realism. Today, virtual set techniques
allow for closer interaction of the actors with the virtual set. Actors can walk in front of or
behind virtual objects, or even inside them. On one news channel, the anchor walks to the
center of the set, a virtual railing rises from the floor to surround her, and then she is
transported to the upper level of the virtual set.
As a result of benefits; sets which previously could never have been built for reasons of
complexity or size can now be realized graphically. Apart from the savings made in the
materials and time when building such sets, cost savings also result in the area of
transportation and storage of sets and props. By expanding the “flat” blue-screen
technology to include a third dimension, various possibilities for spatial picture
composition, can now come into effect. Compared to conventional production
techniques, the virtual studio also leaves more freedom. For example: set lighting,
including shadows can be simulated on the computer and altered at will; it is very easy to
modify quickly the structures,colours and textures in the computer-generated image;
scenery can be rebuilt by pushing a button; small studios can be made to appear larger.
By using a virtual set, a more intensive use of existing studios can be made; there is the
possibility that they can provide for multiple use, both conventional and virtual (Kolb,
Hanrahan, Mitchell, 1995). Up to now, rather costly capital investments have been
required by broadcasting organizations for the installation of virtual studio technology.
This expenditure can only be justified if the virtual studio offers, in the long term,
potential added value and benefits over conventional programme production. The most
important ones to be considered are: cost and time savings; better studio efficiency;
realization of new ideas for the scenery (Hilton, Beresford, Gentils, Smith, Sun,
Illingworth, 2000).
Limitations of virtual sets:
The limitations of virtual studios can be as follows:
-The orientation of the presenter or actor in the blue space.
-The wearing of blue clothing (e.g. denim jeans,etc.).
-Careful keying to avoid noisy edges; the currently-applied flat or soft lighting
withtroughs.
-The maintenance of real shadows of the actor, on the virtual floor and wall, and
on artificial objects.
-The unnatural depth perception of the sharply-focused foreground and the
background images (when there is a close-up of the presenter.
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-The background image has to be defocused to enhance the depth of field
realism); automatic Z-keying; the processing times which cause a relative delay, of
several frames in some cases, between the real foreground pictures and the sound, and
the virtual background scene. Without a very powerful computer, unnatural artifacts are
evident in the case of more complex sets, and during quick camera movements.
-Virtual studio technology is still rather expensive, not only in terms of hardware
and software purchase, but also in terms of equipment maintenance and the training and
continued education of the operating personnel.
As a result of limitations: synthetic sets and props can be generated nowadays so
effectively that they can barely be distinguished from the real world anymore; the
boundaries between reality and illusion are growing increasingly hazy. Consequently,
animations and virtual sets ought to be used sparingly, responsibly and preferably only
when they can be recognized readily as such by the viewer. Otherwise, the credibility of
the programme may suffer. The experience of a number of broadcasters and production
houses shows, however, that virtual studio technology is not yet suited equally well for
all types of programme production. More complex productions with complicated sets can
be very difficult to make in a virtual studio especially in real time and in front of a large
audience (Potmesil, Chakravarty, 1981).
3 Dimensional view:
The technology has advanced so much that users no longer simply attempt to create sets
that are valid imitations of real life. Television production is increasingly making use of
3D models, in applications including animation and virtual production. These models are
rendered to produce 2D images during the production process. Current trends in
consumer technology suggest that future digital television sets will probably contain a
computer with processing power exceeding that of today’s high-end workstations.
Coupled with the increasing availability of 3D rendering hardware, and new
developments in 3D display technology, it is reasonable to assume that TV sets in 2010
would be capable of delivering full 3D television. The broadcast industry must therefore
prepare for this exciting evolution from 2 to 3 dimensions. 3 D technology is multi
functional for set designers. (Tekalp, Ostermann, 2000).
Virtual set technology has developed very fast. Today, virtual sets have moved from the
position of expensive esoteric technology only suitable and affordable for very high end
applications into the mainstream of broadcast, which is now affordable for most
applications. Virtual sets are being used in the studios of major networks as well as at
local call letter stations and even small production houses. Applications range from local
news production and talk shows to music videos and sporting events. As the prices
continue to come down the quality continues to go up. Virtual production techniques
have been developed to a level where they can be used to replace some, or all, of the
scenery in conventional (2D) television production. The 3D virtual set is, therefore, our
starting-point along the road to 3D television. However, the central elements in broadcast
programme content are actors, and their interactions with the world around them. Hence,
in order to achieve 3D television production, these elements must also be ‘virtual’ i.e. the
actors must be realistically modelled in 3D, and placed into the virtual set.
Although the animated 3D content could be adequately displayed on a standard 2D
display with viewpoint control functionality, its full value can only be appreciated when
viewed on a 3D display. However, the 3D display used must not negatively impact upon
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the TV experience to which viewers are accustomed (Ostermann, Tekalp, 2000). Most of
the virtual settings are generated in 3-4 hours when we have a relatively clear design
concept before starting. In those instances, computerized set modeling proves invaluable
in other ways (Gold, Rabiner, 1975). Beyond the basics, there are a number of items to
note and consider when looking at virtual sets. For instance, major consideration will
have to be given to the design of the virtual set. There are a wide array of 3D software
programs that can be used to create virtual sets. And there are a number of independent
companies which now specialize in creating virtual sets and even offer off the shelf sets
from their set libraries (Isdale, 1993).
Figure 5 A three dimensional view of a space and the actors in computer screen.
Virtual Realism:
Virtual reality provides, understandably, excellent means for communicating. The
accurate communication of a designerʹs concepts to others is particularly important in the
stage. A stage is a collaborative art, created through the synergistic contributions of many
creative people. Just as they strive to communicate their mutual artistic intent to an
audience, so must they strive to communicate with each other in order that each
production element can harmonize with the others. We should therefore look for
efficient, alternative methods of communicating the multidimensional appeal of staging.
Current virtual stages demonstrate the interdisciplinary scope such projects encourage
and indeed require. Involving architects, musicologists, stage designers, literary scholars
and computer scientists, collaborative initiatives blur the boundaries of traditional
disciplines.The digital dimension includes, however, not only texts but other forms of
information such as animations and 3-D spaces (Mortlock, Sheppard, Wallin, 1998)
Figure 6 Movement reconstruction from multiple views for a Pirouette Sequence
(Hilton, Mitchelson, 2002).
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Figure 7 Simple 3D Shape Actor Modelling (Hilton, Mitchelson, 2002).
Since they replace real sets, the primary function of virtual sets is to look convincing. In
using the technology, there comes a problem about theses sets which generates them that
look worse than cheap cartoon decorations (Schmidt, 1994). As we have mentioned
before conventional chroma-key works best if a fair amount of separation can be
achieved between the cyclorama and the actors. Two metres is recommended for
minimum separation. With this information, the computer can change the perspective in
the virtual landscape, which is grafted onto the scene electronically to replace the blue
background that the camera sees. The director can see the result immediately.
Figure 8 Multiple view images (3 of 6 views).
Figure 9 Generic model; Visual hull; Reconstructed shape.
The multiple views in Figures 8 and Figure 9 are the composing processes of 3
dimensional modeling. The design of the 3D object is a combination of lighting, shadows,
set design and the background image.
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Figure 10 Animated dancer in virtual street scene (Hilton, Mitchelson, 2002). In Figures 8,
9, 10 Dancer model reconstruction from multiple view images can be seen.
A virtual world is a great conceptual playground. The license to create new virtual scenic
units on a whim, move them about on a virtual stage and effortlessly change their size,
color or texture, frees even the most stubborn design inspiration. Effective lighting of
actors and virtual background is essential for realism and stops the cartoon cut out
appearance that is a feature of many chroma-key shots, no matter how good the keying.
The lighting designer needs to work closely with the set designer to achieve the desired
final result. A larger and fully equipped studio makes the lighting task easier and quicker
than a bare stage (Hanrahan, Kolb, Mitchell, 1995). All ʹreal timeʹ virtual set systems have
a delay between the action occurring on the studio floor and the composite picture
appearing on the video monitors. Currently this ranges between two and six frames (six
frames is nearly a quarter of a second). This is especially noticeable if the programme
includes a two way interview or the presenterʹs ear piece is fed from open talkback. These
values are important for the reality of a the set (Chakravarty, Potmesil,1981). Virtual
Reality is electronic simulations of environments experienced via head mounted eye
goggles and wired clothing enabling to interact in realistic three dimensional situations
(Kanellakos, 1992). Virtual Reality is an alternate world filled with computer-generated
images that respond to human movements (Krueger, 1991). Interior architecture needs
the varied and free use of new mediation techniques in order to keep its relevance as a
public science with tentacles in different areas such as design, art, film, computer
technology, etc.
Communication Design
The communication designer takes the position that where virtual architectures and
information systems shape the user experience, mediated communication shapes
interpersonal or social interaction.As a result of this study we can see that there is a new
way of communication emerging: a virtual way. It is accomplished through computer
simulation plus a bit of hallucination, and next thing we realize, we can be anywhere you
wish to be (Chan,2003). This leap in communication can be compared to the introduction
of the television in the beginnings. Since its introduction to television world, Virtual
Studio has proven that it can be successfully used. More and more broadcasters are using
this technology, even for complex, live to air productions (Chandler, 2001). Virtual Studio
is a very interdisciplinary technology. Virtual Studio evolved from traditional blue box
technique, where actors and real objects are shot in front of a blue screen. The camera
signal (foreground) is then fed to the chroma keyer, where it is mixed with another video
signal (background), coming from a computer. This technique, used for years for weather
forecasts, has one major drawback the camera can not move, because the background
video is static. These are all optimum usages of studio interiors (Rokista, 1993).
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The semiotic theory and the codes:
When we analyze the semiotic theory, it focuses on the social and cultural meaning of
signs and codes (Scholes, 1982). Signs consist of an image, a word, an object or even a
certain type of practice. The meaning of signs depends on the relationships between the
signifier (the image, word, object, or practice), the signified (the implied meaning), and
the referent (what the image, word, object, or practice refers to) (Scholes, 1982). These
codes also provides important messages of spaces for designers to analyze the expression
of the language of a space.
Table 1 The meaning of codes can be seen on the table.
Define
Meanings
Related To
Dress codes Color codes Non-verbal
codes
Class codes
Racial
codes
Cultural
codes
Status,
class,age,
style etc.
Language,
behavior, etc.
Related to
class
markers..
Language,
behaviour,
etc.
Related to
Race or
ethnicity..
Social
practises in
certain
places..
The
expression of
colors..
Gestures,
body
language..
Cinemati
c
technical
codes
Uses of
close-up,
long,
medium
shots,
angles,.
Table 2 In general the two main parts of codes can be categorized as seen on the table.
Visual codes of composition, movement and Verbal codes defining uses of speech and
Sequence.(Framing pic., movement and sequence) stories.
A combination of these codes interact to form a communication process by different
means. In this study we are concentrated on codes of composition used to combine TV.
studios by virtual organisations. Emerging technologies, the global economy and the
Internet are changing what it means to be literate. The digital age is transforming the
quantity, range and speed of information and communication in our lives. The mass
media affect how we perceive and understand the world and people around us, from
what we wear, eat and buy to how we relate to ourselves and others. In the 21th century,
the ability to interpret and create media is a form of literacy as basic as reading and
writing. Digital technologies have also changed film production through the use of
computerized special effects. For example, in The Matrix, a ʺbullet-timeʺ set of 70 still
cameras and two motion cameras were used to shoot 360 shots at 500 frames per second
of actors twirling in mid-air. Or, in Gladiator and The Lord of the Rings, the portrayal of
large crowds or armies in battle can be created through digital animation. This increased
use of digitalization has focused increasingly on the portrayal of spectacle in space,
moving away from traditional focus on linear narrative (Cubitt, Sardar, 2002).
RESULTS
As a conclusion, in this paper, the importance and increasing usage of virtual
communication processes are being mentioned. The first aim of this work is to understand
the importance of relation between communication field and architectural diciplines. An
interior architect, reaching the contemporary design criteria, must be aware of
communication diciplines and ınteract them in space planning and design, providing the
spaces having their own languages as it is the most important criterion in space planning
because of the fact that space is a language. The second aim is, after learning the
258
importance of communication technologies in space planning it must be understood that
communication diciplines in interior architecture lessons should be adapted beginning
from the degree of graduation and also in MA degree and PHD and by the integration of
these diciplines a multidiciplinary educational system could be reached by the way.
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