In order to accommodate the imaginative realization of creative concepts and the idea of dynamic image synthesis, the concept of dynamic virtual synthesis has gradually gained popularity in the field of broadcasting and television. Initially, due to the high production costs and time-consuming nature of stack technology, it primarily found applications in the film industry. However, over the past two decades, with advancements in production techniques and improvements in equipment development, dynamic virtual synthesis technology has gradually become widespread in broadcasting and television, commonly known as background removal systems.

The two main elements that constitute a virtual studio are, in fact, the foreground and the background. Similar to background removal systems, the foreground is the image captured by the camera, while the background is a virtual computer graphic file or a 3D background. The perfect integration of these two elements is the application of a virtual studio, which has evolved to address the limitations of conventional background replacement and meet the demands of creativity and aesthetics.

Let's first examine the perspective of the front-end camera. Generally, there are two types of systems: "tracking" systems and "non-tracking" systems. The difference between the two lies in the tracking system's ability to follow the control of the camera's Pan, Tilt, and Zoom, making corresponding changes to the virtual background. Advanced systems can even achieve tracking of Track, Dolly, and Crane, allowing for precise framing and flexible scene scheduling. In contrast, non-tracking systems rely on computer-generated algorithms for all operations, such as Zoom, Pan, and Tilt, achieving equally precise changes in the camera position. However, there may be subtle differences in the "camera feel." High-end tracking systems are suitable for national TV stations like Beijing CCTV and Taiwan Public Television, while non-tracking systems are well-suited for applications in education, local television, shopping channels, and similar contexts.

Part Two, and also a rather complex aspect, concerns the background. Generally, it is divided into "2D" and "3D" systems. The 2D system is constructed using a layer stacking logic, similar to the dynamic version of Photoshop. It layers outdoor scenes, indoor backgrounds, TV walls, and characters in a stacked manner. The advantage is that the system has a lower burden and doesn't require high-end workstations for computational tasks, making it accessible to professionals and educational systems.

However, the drawback is that the visual realism of the scenes is weaker. It becomes more challenging when there is a need for depth-level interaction between characters and backgrounds. For example, effects like camera position pushing, shaking, or horizontal movement are more prone to flaws in the 2D system. The 3D system operates the scene in full 3D mode, allowing for free rotation and camera movement. Objects in the scene, as well as perspective, lighting, etc., automatically adjust according to different angles, creating a more realistic visual effect than the 2D system. However, the cost is the high setup cost of the system, including high-end workstations, time-consuming front-end scene design, and a relatively complex workflow. Integration of various high-proficiency execution domains is required to achieve the expected results.

Apart from these two major components, the often-overlooked part of a perfect virtual application is the actual "studio" and the interactive relationship between the environment and the scene. Despite being called a virtual studio, there is still a need for actual shooting, involving individuals like anchors or hosts. Many might think it's as simple as placing someone in front of a blue or green screen, but it's not. Achieving a seamless fusion of real individuals with virtual backgrounds requires a professional blue or green screen and appropriate lighting. For example, a standard studio with a width of five meters, a depth of three meters, and a height of three meters would require twelve to fifteen lights for venue illumination. The key is soft and even lighting to ensure the even color of the blue or green screen. This is essential for minimizing the information and contrast of the blue or green color to be removed during Chroma keying, allowing for the moderate retention of the shadows and other details of the subject being filmed. Additionally, on-site lighting needs to simulate the direction of virtual environment light sources, and the camera position and angle should also reference the virtual background. This way, the combination of the live-action individuals and the virtual background will seamlessly merge, avoiding the disjointed feel reminiscent of special effects films from the 1950s.

The aforementioned elements constitute the basic components of a virtual studio. To add a slightly advanced touch, one can incorporate moderate artistic arrangement, CG subtitles, and some interactive multimedia elements. In doing so, a powerful and aesthetically pleasing virtual studio production can be created. In this era of rapid change, traditional studio or outdoor shooting programs may have reached an extreme point of development. Acceptance of such types of programs may have saturated, and coincidentally, computer processing power has advanced to a level where it can provide real-time stunning effects. Coupled with timely promotion of diverse learning solutions, whether in academia or industry, now is an opportune time to venture into this field. It is hoped that various types of solutions, both high and low-end, can be swiftly introduced, continuing to enrich the realm of production and broadcasting.