As businesses consider making remote working a permanent fixture, for the broadcast industry, Zoom calls are not quite going to cut it.
Social distancing and travel restrictions call for a decrease in the number of crew on site. At the same time, the growth of over the-top (OTT) media services such as Netflix has spiked demand for engaging broadcast productions across multiple platforms.
Fighting for eyes on the screen, broadcast production companies are turning to extended reality, or xR, to make their shows really stand out.
xR refers to photorealistic real-time images generated by powerful graphics engines, such as Unreal Engine, that are projected onto LED screens surrounding the scene. Camera tracking technology means the virtual scenes change based on camera movements – making the environment fully immersive.
Actors, presenters or journalists no longer have to guess where virtual elements are in the scene like they had to do with green screens. They can even present data interactively with real-time 3D visualisations, such as simulating weather conditions in weather reporting segments. disguise, a company pushing the boundaries in xR, integrates graphics engines, LED technology and camera tracking into a single workflow.
A new type of TV show
Producing engaging TV shows with fewer people on site is now possible. In the 2020 Junior Eurovision Song Contest, Wizja Multimedia used disguise xR workflows with augmented reality to “beam” contestants into the same space, even though each performed from their home country. disguise xR workflows have also been used on a number of other shows and productions, including the 2020 US Open and the 2020 MTV Music Video Awards.
The possibilities of xR go beyond creating virtual environments. disguise’s cluster rendering capabilities enable graphics on screen to be rendered at any scale without compromising on quality. The future for broadcast production is, much like the graphics, unreal.
Photo courtesy of Wizja Multimedia