Table of Contents
Toggle3DTV 번역에 대해서 알아 보겠습니다(한영번역)
.
3DTV 번역(한국어 원본)본 연구에서는 3차원 입체영상과 입체영상제작의 특성은 무엇이고 기존의 방송제작방법과는 어떠한 차별점이 있는지 살펴보았다. 더불어 3DTV 도입에 따른 방송 환경 변화와 문제점을 분석해 개선방향을 도출해보았다. |
3DTV 번역(영어 번역본)This study aims to explore the particularities of stereoscopic vision and their production in order to investigate how they differ from conventional methods used in the production of TV programs. In addition, the study offers recommendations for improvements by analyzing the changes in broadcasting environment brought by the advent of 3DTV and the problems they pose. Existing literature was reviewed to examine the history of broadcasting, the fundamentals of 3D images, the functional mechanism of 3D cameras, visual aesthetic considerations on 3D images, elements of production, and workflow. Based on this theoretical background, the following research objectives were set. First, the particularities involved in the production of programs for 3DTV was investigated. Second, the changes in broadcasting environment brought by the introduction of 3DTV were examined. In order to answer these questions, the 3D movie Avatar was analyzed and compared with 2D movies, and a sample case in 3D production, in which the author participated, was analyzed. In addition, a survey was conducted to investigate how audience members and TV producers view the introduction of 3DTV, in order to provide some insight on the strategy of broadcasting companies with regard to program contents. These analyses produced the following results. It is expected that the introduction of 3DTV will lead to significant transformations in TV program production overall, with changes in visual direction, production workflow, and viewing practices. In particular, the quality of stereoscopic images depends greatly on filming with the correct settings, which determine eye strain and the degree of realism. Therefore, the hasty adoption of 3DTV without adequate preparations, which include the establishment of workflow suitable for TV production, the enhancement of the portability of equipments, and the accumulation of expertise, may result in rejection by the audience. In addition, the case study of 3D contents shows that there are significant differences between 2D and 3D, such as that dynamic camerawork is more important than visual composition using the z-axis and the cut of scenes. The results of the survey conducted to investigate the changes in broadcasting environment following the introduction of 3DTV First, in order to stimulate the purchase of 3DTVs on a mass scale, free 3D broadcasting should be available on terrestrial networks, and 3DTVs must become available for prices of under ₩2 million (approximately US$1,700 at the time of writing). Second, killer contents that capitalize on the technical advantages offered by 3DTV should be produced in adequate amounts and aired during prime time when the largest number of viewers has access. Third, the human factors are the main points for improvement in 3DTV. While the members of the audience desired free programming, producers preferred to receive subscription fees. Although various mass media networks are engaged in competition to secure premium contents, the costs are astronomical. Moreover, investments, which are required in all areas from program production and distribution to transmission and installation of receivers in order to adopt this new service, may not lead to profit necessarily. Therefore, if investments are to be made on the equipments and the facilities for the introduction of 3DTV, the profitability of such a project must be carefully studied in advance. These results show that the introduction of 3DTV poses opportunities as well as problems for TV production, and will fundamentally change the approach to TV contents. But before 3DTV can be properly popularized, the work of TV producers in producing creative and high-quality 3D programs must be assisted through technical standardization and policies to stimulate 3D contents production. |
.
이상 원광대학교에서 의뢰한 3DTV 관한 번역(한영번역)의 일부를 살펴 보았습니다.