While virtual sets have had a presence in television studios for several decades, advances in artificial intelligence and virtual reality are revolutionizing the TV news of today. The use of virtual sets and advanced graphics, where the on-air talent works within a simulated 3D graphical environment, has made physical sets little more than background props that viewers never see.

“Virtual sets and advanced graphics are becoming essential in delivering impactful storytelling,” said Marcus B. Brodersen, CEO of Pixotope, a real-time virtual production platform. “Thanks to new technologies, broadcasters can now build more flexible environments that can be adapted on the fly, which is critical for the fast-paced nature of news production.”

“Virtual sets enable the visual extension of the set, meaning that you can do more with a limited space,” added Russell Leak, senior customer success manager with Vizrt, a pioneer in developing real-time graphics and live production solutions for content creators. “With detail-oriented virtual environments, presenters can interact with the space around them seamlessly, creating an engaging visual experience for the audience.

“Topped with data-driven immersive graphics to illustrate important data points clearly, virtual sets and advanced graphics are playing a crucial role in providing both information and entertainment,” he added. “They help illustrate the storytelling, improve audience retention and relay effectively crucial data-driven stories.”

Data Visualization
The most significant evolution in news tech over the past year has been in data visualization, according to Jim Doyle, Ross Video’s vice president, creative services.

“Using CG-generated graphics like XPression helps our customers provide results and information very quickly and provides virtual graphics to tell the story,” he said. “Our work with Fox News for their 2024 election coverage [which used Ross Video’s Graphics on Command voice-activated AI-driven live graphics system] is probably the most advanced TV news setup we’ve done. We’ve created a workflow where someone on set can verbally request the next graphic, and AI then recalls that specific scene, allowing them to speak to it.”

(Read: CBS Owned Stations Go Virtual To Reinvent News)

The U.S. and U.K. elections were big drivers of on-air news innovation in 2024.

“Broadcasters worldwide used Viz Engine, sometimes integrated with Unreal Engine, to create fully immersive 3D environments, including a full video wall of the White House for the U.S. elections, as well as an illustration of Parliament for the U.K. general election in blue and red, with seats changing in real-time as results came in,” Vizrt Senior Customer Success Manager Russell Leak said. “AI has also been a buzzword for a reason: It is being used for the setup and improvement of visualization of sets. For instance, Reality Connect, available in Viz Engine 5, uses advanced AI algorithms to enable hyperrealistic talent immersion, including shadow-casting and reflections within virtual studios and XR sets.”

Brainstorm specializes in advanced technologies like real-time 3D graphics, virtual sets, camera tracking, XR and film previsualization. In 2024, the company collaborated with Univision Arizona (KTVW Phoenix) to develop a complex virtual set and a suite of data-driven AR graphics templates for its election night coverage delivered on its large, green 35-by-30-foot cyclorama.

“Virtual sets, augmented reality graphics and real-time 3D graphics have been around for decades, but recent advancements in graphics quality and computing power now make it possible to deliver more realistic sets and complex graphics in real time,” Miguel Churruca, Brainstorm’s marketing and communications director, said. “By combining Unreal Engine for set rendering with real-time broadcast graphics engines, we achieve the best of both worlds for news production, with stunning background scenes and hyperrealistic graphics. We can even take it a step further with remote connections—bringing a remote talent directly into the news set rather than onto a screen, or virtually placing the anchor in a remote location, all in real time.”

What's Coming Next
As exciting as the innovations in virtual news sets and advanced graphics for news production were last year, what’s coming next is bound to be even more dazzling.

“In 2025, virtual studios will continue to become easier to implement and achieve photorealistic quality, even in live broadcasts,” Brodersen said. “With advancements in real-time rendering and lighting, such as real-time ray tracing, virtual sets will become indistinguishable from physical ones.

“Another area that is seeing very rapid advancement is AI-based tools for video analysis, processing and content generation,” he continued. “One of the innovations we are working on is ‘Pixotope Reveal,’ our AI-powered background segmentation tool that can automatically detect and select up to 20 talents. It allows you to place the AR graphics behind or in front of the talent without the need of complex infrastructure, such as green screen, chroma-keying or lights.”

Brainstorm’s Churruca agreed that a major goal among broadcasters is to achieve maximum realism, creating virtual sets that are indistinguishable from reality by using the latest rendering technologies.

“These advancements not only enhance visual quality but also improve lighting, reflections and interaction with graphics and other elements, resulting in a highly polished final output,” he said. “Virtual and real elements can seamlessly coexist—such as combining real tables and props with virtual backgrounds. We can mix talent and props with real LED backgrounds or pair virtual backgrounds with virtual screens, creating endless combinations for displaying images, graphics, or other virtual elements.”

Ross Video’s Doyle sees virtual reality breaking out of the news production studio in 2025. “I believe we’ll see more simplification in the control room,” he said. “I think virtual control rooms, at least for Tier-2 or Tier-3 productions, have a future. AI-driven routing and switcher control are also on the horizon, which will change things. Combined with what we’re doing now with voice command, we’re quickly moving into a whole new production environment.”

The Beginning of the End?
Does all of this progress spell the doom of traditional TV news presentation? “It’s looking that way,” Brodersen said. “The days of physical news sets with static, over-the-shoulder graphic windows are indeed fading. Even regional broadcasters, such as VideoReport Canarias [in Spain] and TV La 7 [in Italy], are making the switch to virtual sets and it’s likely more will follow.”

Said Doyle: “In some ways, yes, and in some ways, no. I’d say traditional over-the-shoulder graphics with an abstract image and two lines of text — that’s outdated. But I think graphics that reinforce what the talent is saying, like half slabs with bullets of information or data-driven charts and graphs, are still useful and aren’t going anywhere. “

What about physical TV news sets? Are they fated to go the way of ¾-inch videotape and paper scripts? “Definitely not,” Leak said. “To some extent, those news sets are not a thing of the past because audiences like familiarity, and the traditional news look is appealing to a key part of the audience.”

In fact, physical desks, chairs and other news-studio props still have their place in this brave new world of TV news production.

“Physical news sets continue to play a crucial role, but virtual news sets enhance the dynamics of news presentations,” Churruca explained. “Anchors are no longer confined to sitting behind a desk while OTS [over-the-shoulder] graphics illustrate the news: Now virtual sets and augmented reality graphics on physical sets offer greater flexibility. Anchors can move freely—standing behind a desk, interacting with AR graphics in a larger space or even being teleported to remote locations using chroma-key and virtual technology. Both physical and virtual approaches have their advantages, allowing us to leverage all available technologies to create more engaging news programs with dynamic presentations.”

OSLO, Norway—Live augmented reality and virtual production specialist Pixotope Technologies has launched Pixotope Reveal, an AI-powered background segmentation tool that transforms how broadcasters integrate real-time graphics into live productions, the company said.

The software enables seamless integration of 2D and 3D graphics without requiring green screens, manual rotoscoping or match-moving work, it said.

“Pixotope Reveal represents a significant leap forward in broadcast technology,” Pixotope CEO Marcus Brodersen said. “By harnessing the power of machine learning, we’re enabling broadcasters to create more engaging content while significantly streamlining their production workflows.

“Given the rapid advancement of AI technology, we anticipate that solutions like Reveal will quickly become the primary choice for broadcasters, eventually replacing traditional methods like chromakeying for virtual studio production,” he continued. “The pace of development in AI and machine learning is extraordinary, and we're positioned at the forefront of this transformation in broadcast technology.”

Pixotope Reveal’s advanced AI can extract on-screen talent from any background, enabling the seamless placement of graphics both in front of and behind presenters. Combined with Pixotope’s talent-tracking solutions, it allows for fully natural integration and interaction between the real and the virtual. This capability eliminates the need for traditional green screens while maintaining broadcast-quality results, the company said.

For news broadcasts, Pixotope Reveal enables dynamic data visualization that adapts to the storytelling and the on-camera personality. It allows anchors to interact naturally with polling data, weather maps and financial charts, the company said.

In sports broadcasting, real-time statistics and analysis can be seamlessly integrated into the live action, with player stats, team analytics and game data appearing to exist within the physical space rather than merely overlaid on screen, it said.

The software can handle multiple talent extractions simultaneously, supporting more than 20 individuals in a single scene while maintaining real-time performance at up to UHD resolution and 60 frames per second, it said.

Sports broadcasters and rights holders can now offer unprecedented sponsorship opportunities with Pixotope Reveal's ability to integrate virtual advertisements naturally into any environment. This capability allows for region-specific sponsor content and enhanced brand integration without disrupting the viewing experience, it said.

Pixotope Reveal is available from Pixotope’s website or its global network of resellers beginning today. As part of the launch, Pixotope is offering a 30% discount to early adopters who purchase before year-end. A free 30-day trial is available for qualified broadcasters and production companies, the company said.

More information is available on the company’s website.

OSLO—Pixotope has announced the availability of Pixotope 24.1.0 and is reporting that the release includes the full integration of Unreal Engine 5.4, which opens up the ability to design motion and production graphics directly in Pixotope. 

With this integration Pixotope now offers a full broadcast graphics solution for simplified and streamlined augmented reality (AR), virtual studio, extended reality (XR) and character generator (CG) workflows with Unreal Motion Design, the company said. 

In addition, this release features an arsenal of innovative updates designed to empower broadcasters with the tools to enhance creativity and reduce complexity in virtual production workflows. The result is that it is easier and more efficient than ever for broadcasters of all sizes to push the boundaries of immersive storytelling to grow and retain their audience to drive new revenue opportunities, the company reported. 

“Broadcasters are constantly seeking ways to differentiate their programming. With Pixotope 24.1.0, we're providing them with powerful tools to leverage Unreal graphics in their live broadcasts without complicating their workflows,” says Gideon Ferber, senior vice president of product at Pixotope. “For broadcasters, these creative capabilities translate into unique revenue opportunities. For example, they can integrate clever advertising seamlessly within programming, effectively monetizing 3-dimensional space that previously had little to no value.” 

With the integration of Unreal Engine 5.4, Pixotope 24.1.0 delivers industry-leading motion design capabilities, allowing for complex 2D motion graphics directly within the engine. This enables broadcasters to take their on-air branding and visual storytelling to new heights, creating more engaging and immersive viewer experiences. With this integration, broadcasters can now easily produce highly detailed and photo realistic visual effects, enhancing both storytelling and visual appeal.

In addition to the enhanced creative capabilities of Unreal Engine 5.4, Pixotope’s broadcast graphics solution is easy for broadcasters to onboard. With Pixotope and Erizos Studio under one roof, users get simplified, streamlined, and familiar template-based workflows. This allows broadcasters to control multiple graphics engines and various aspects of their show simultaneously, integrating with newsroom control systems using the MOS protocol and supporting automation-driven playouts. These template-based workflows enable broadcasters to easily deliver compelling visual stories to viewers, seamlessly integrating real-time AR, XR, and virtual studio graphics into their live broadcasts.

“Broadcasters today face the dual challenge of producing high-quality content while managing tight budgets and complex workflows,” Gideon adds. “By automating complex tasks and reducing the need for extensive technical resources with ease of use updates, broadcasters can optimize their workflows to get engaging content out faster and more often." 

Pixotope 24.1.0 includes the following new features and capabilities that dramatically improve efficiency and reduce complexity:

• Hybrid XR Wall Capabilities that enable 2D Media Playback on LED walls, expanding the use cases to include both 2D and 3D graphics, offering a flexible solution to changing production needs.
• Chroma Screen Actor defines areas where the keyer will be active, ensuring smooth transitions between virtual and physical sets and improving the quality of hybrid studio productions by managing keying more effectively.
• Other creative enhancements available in Pixotope 24.1.0 via Unreal 5.4 support include: Character Rigging Enhancements; Heterogeneous Volume Rendering; Motion Matching for Animators; Rendering Improvements 
• Automatic Delay Detection automatically calibrates delays between video and tracking, saving time and reducing errors by simplifying synchronization processes.
• Data Mapper allows users to bind external data to graphics without needing complex blueprints, reducing technical complexity and easing data integration into visual elements.
• Embedded Tracking data directly within the engine, eliminates the need for additional equipment (especially useful for remote productions), saving time and reducing the need for expert calibration.
• Simplified Color Pipeline simplifies the setup process for managing color spaces and profiles, ensuring consistent color quality and easy management of color settings.
• Template-Based Workflows simplify the creation process, enabling users to produce high-quality visuals more easily.
• XR/Video Wall Improvements offer new options for mapping media inputs and generating manual twins for XR walls, enhancing flexibility and control over XR setups.
• Server Failover improves redundancy and safety for pipelines, ensuring productions continue smoothly even if a server fails.

Pixotope 24.1.0 is available immediately to all Pixotope customers. More information on Pixotope release 24.1.0 is available here. 

It's happened: The realistic virtual sets and advanced news graphics that have been wowing TV viewers for years have become accepted elements of broadcast production. 

“It’s no longer a gimmick,” said Ray Ratliff, Vizrt’s Product Evangelist, XR. “Broadcasters and media producers are leveraging these technologies to help them tell their stories, expanding the depth and richness of their stories in new and powerful ways.”

Better Quality, Easier to Use
Just because virtual sets and advanced news graphics have come of age doesn't mean that these technologies are standing still. In fact, advances in both technologies explain why they continue to impress viewers and news producers alike.

“The improvements in tracking technology for virtual sets have been a game-changer,” said Mike Paquin, Ross Video’s Senior Product Manager, Virtual Solutions, “These systems are now incredibly precise and reliable, which means they require less maintenance and can be used daily without the need for constant recalibration. 

"The improvement in control systems is also significant: in the past, there were standalone control systems which required a dedicated operator, but with technology like Voyager and Lucid, the control side can be easily integrated with existing workflows, eliminating the need for dedicated operators and extensive training.”

Advanced news graphics have also become easier to use, accelerating the adoption of virtual sets and augmented reality (AR) in TV news production.

“One factor driving this trend has been increasing simplicity in use for day-to-day graphics,” said Aldo Campisi, Chyron’s Vice President for Latin America, Caribbean, Spain & Portugal. “We’ve focused on simplifying and deskilling daily use of virtual sets and/or augmented reality, even enabling our customers to extend the CAMIO newsroom automation workflow they use for traditional graphics into the world of virtual sets and virtual graphics,” he said. “With this functionality, producers can use a familiar tool set to build graphics in 3D space, in augmented reality, and in virtual sets all while maintaining data visualization functionality.” 

Thanks to the integration of artificial intelligence (AI) into virtual set and news graphics systems, achieving “real-time photorealism is easier and more cost-effective than ever before,” said Ratliff. At the same time, the ability to format these effects into templates is simplifying and speeding up the production process “without impacting staffing requirements.”

The Impact 
Collectively, advances in virtual sets and news graphics are allowing broadcasters to explain stories to their viewers in new and visually exciting ways. 

For instance, when Thailand’s Amarin TV wanted to explain the progress of an election during a results broadcast, “they visualized the candidates as runners on a race track,” said David Dowling, Chief Revenue Officer with Pixotope Technologies. “Depending on how well they were doing or how big their numbers were, the graphics showed their positions on the track, plus whether they were still fresh or tired, or about to give up the ghost.”

Meanwhile, when Iceland’s RUV TV wanted to explain the latest volcano that had erupted on that island nation, “they incorporated an AR volcano onto their news set,” Dowling said. “It was a story-telling element that really helped their presenters explain what was going on.”

Across the TV broadcast industry, “we see customers using immersive graphics to put their presenters in the middle of the action,” said Ratliff. “Broadcasters place their people in fully virtual environments, bringing more significant presence and context to their stories, helping viewers understand the content better. We’ve seen incredible examples of this globally on a variety of coverage whether it's elections, sports or other major news.” 

“Graphics are now truly telling the story in an immersive way, and they're not just being used in virtual sets, where talent is in front of a green screen,” Campisi added. “Visual storytelling is also being enhanced with augmented graphics. The presenter might be standing in front of a true LED video wall with graphics that are brought into extended reality, creating an immersive experience that empowers the newsroom team to demonstrate, visualize, and story tell with much greater detail and emphasis.”

What’s Coming Next
As impressive as virtual sets and news graphics are today, they are likely to wow viewers even more in the years to come. At the same time, the trend in these technologies is to make them less obvious to the viewer, rather than more. 

“I think that photorealism is something that people are crying out for and I can certainly see that trend having an impact on the way in which graphics are presented,” Dowling said. “Even if it's just a lower third or a bug, the look will be as close to real life as possible.”

Meanwhile, the technologies that have revolutionized the look of TV news appear destined to break out of this niche. 

“At Chyron, we’re increasingly being asked for solutions that help our customers commercialize their productions,” said Campisi. “By its very nature, a 3D virtual set offers more spaces that may be digitally branded than with simpler 2D graphics. Looking ahead, we can see how advanced skeletal tracking and visualization — to the point that it’s highly representative and realistic — could be translated across sports and entertainment. 

“For example, a match targeting a younger demographic could feature all the well-known athletes on a team stylized to look like characters from a popular animated series or an epic space opera,” Campisi added. “In other words, properties and brands could be marketed and monetized in remarkable new ways to realize exponential returns.” 

Advances in GPUs, AI tools, and decreasing LED prices are now blurring the lines between virtual and actual reality, according to Campisi. 

“These innovations will enable hyper-realistic, immersive sets and interactive presentations, enhanced by AR and MR integration. Cloud-based flexibility, real-time automation, and lifelike virtual characters will revolutionize newsroom graphics, pushing the boundaries of visual media.”

OSLO, Norway—As virtual production becomes much more widely used and studios struggle to find talent with virtual production expertise, Pixotope has launched Pixotope Pocket, a new product that aims to make it easier for educational institutions to train students in virtual production techniques and technologies. 

Pixotope CEO Marcus B. Brodersen noted that as demand for virtual production technologies and expertise has exploded in recent years but that getting qualified professionals remains a major challenge. 

“We started the Education Program as an answer to what we were picking up in the market from clients and production, which is basically that they were saying getting access to talent was a challenge,” he said. In the past year, Education Program has expanded to include universities in U.S., UK, Korea, Hong Kong, Chile, Italy and Japan. “Everyone is looking at it and trying to figure out how they can offer this to their students,” he said.

The release of Pixotope Pocket is designed to make that training even more accessible. As part of the Pixotope Education Program, the app gives aspiring virtual production professionals what they need most: easy, unfettered access to augmented reality (AR) and virtual studio (VS) tools and workflows, Brodersen said. 

By circumventing the need for a fully equipped studio, students need only a smartphone running the latest iOS and a PC to create powerful and immersive content anywhere, even dorm rooms. It is also designed to be a less expensive option for schools.   

“The introduction of Pixotope Pocket represents the next evolution of the Pixotope Education Program,” says Pixotope Education Program manager, Carina Schoo. “While we’ve made great strides in addressing the virtual production skills gap, we knew the technology could be made even more accessible to aspiring creators. The first step was to provide students access to our platform via their media facilities through the Pixotope Education Program. With Pixotope Pocket we are taking this one step further.” 

Pixotope chief revenue officer, David Dowling, added that “The virtual production skills gap is often cited as one of the main barriers to adoption. This is because getting the technology into the hands of tomorrow’s creatives has historically been cost and resource-prohibitive. Pixotope Pocket addresses that head on and makes the technology even easier to access and use. The result is an exponential increase in opportunities for students to hone their skills outside of their school’s media production labs.” 

This also expands the ways in which students can engage with virtual production tools and workflows. Students can now access virtual production tools via both their school's existing media production infrastructure and their own technology. 

Brodersen also stressed that unlike traditional AR and VS workflows, with Pixotope Pocket there is no need for a professional camera plus specific tracking hardware. The user can use the camera of their mobile phone to shoot footage while Pixotope Pocket takes care of the camera tracking. It does this by combining device motion tracking, camera scene capture, and advanced scene processing. Video and tracking data are transmitted via SRT stream through a local network to the local machine that has Pixotope Graphics installed. 

Brodersen noted that Pixotope Education Program partner, University of Gloucestershire, played a crucial role in bringing Pixotope Pocket to market. To ensure that Pixotope Pocket meets the needs of today’s virtual production students with precision, a group of students from the Digital Media course tested the app in a workshop and provided valuable feedback.  

“In order for our students to succeed in their careers they need to be able to understand technology, whether they’re using it themselves or commissioning someone else to use it,” says Anne Dawson, head of the School of Creative Industries, University of Gloucestershire. “It’s very important that we partner with leaders in the industry, like Pixotope, to make the technology more accessible and help our students achieve this understanding.”  

Pixotope Pocket is initially available on iOS, with support for Android devices following soon, to students enrolled in courses at establishments partnered with the Pixotope Education Program. 

For more information on the Pixotope Education Program, please visit https://www.pixotope.com/pixotope-education-program.

It’s not novel information that the world of media production is evolving faster than ever. Thanks to the rapid development and adoption of exciting new technologies, like virtual production, we’re able to deliver immersive experiences that captivate and delight audiences like never before. 

Such mind-bending innovation often begs the question, “where do we go from here?” To answer that, we first must come to a common understanding of how we talk about where we are now and what that means in specific terms. Even the term itself, “virtual production”, can have many different definitions and interpretations - it can be hard to keep up. 

For the purposes of this article, let’s define virtual production as the tools, methods, and services used to create immersive experiences that combine real-time virtual content with live video. Under this umbrella, there are several disciplines that can be organized into two categories: 

• Real talent/objects placed into a virtual world:
  Virtual studios
  In-Camera Visual Effects (ICVFX)
  Extended Reality (XR) using LED volumes
  
• Virtual talent/objects placed into video of the real world:
  Augmented Reality (AR)
  Modern data-driven on-air/motion graphics

Understanding these terms is important because they represent the different ways virtual production is transforming the media and entertainment industry.

State of Virtual Production
Virtual production has been on the horizon for more than 20 years (and arguably longer depending on how you define it). However, it was the pandemic coinciding with steep changes in availability and power of real time graphics technology that proved the concept and accelerated its adoption. 

For broadcasters, virtual production provided a way to add production value to live television, such as crowds for sporting events and virtual environments for hosts and talent, that was not physically possible due to the pandemic. It also enabled remote production in new ways, by allowing “teleportation” of talent using virtual production techniques.

(Read also: The Reality of Virtual Production)

This also translated well into feature film and drama production. Leveraging the availability of high quality LED panels, virtual production made it possible to create immersive environments that talent could see and interact with instead of standing on an entirely green or blue screen-laden stage, void of any features.

The photorealistic capabilities of the technology were ultimately what took it mainstream. When people saw how impactful and effective virtual production could be (think of the buzz surrounding "The Mandalorian"), it became hard to go back to the "old way" of doing things. As a result, virtual production saw a meteoric rise and is quickly becoming the standard way of creating content.

Virtual Production Everywhere
When we talk about ways in which virtual production is changing the media landscape, it’s more than just the additional production valu— the “wow moments” for the viewer—that is driving the adoption: 

1. Convergence of Media Production
The differences between live events, broadcast, film, T.V., video games, etc., are becoming less important than the commonalities. With real time graphics engines that are capable of photorealistic results driving everything, storytelling comes down to virtual assets and experience ownership. 

Eventually all video-based content will have the visual impact of high-end feature films. This will become even more commonplace as all businesses quickly adopt the tools and methods of media production. Communication tools within healthcare, construction, engineering, consumer products, etc. are now combining the connected and scalable nature of online content with the immersive and social experience of video games. 

2. Live, Immersive and Interactive
Virtual production is becoming more all-encompassing for the viewer, and for good reason. The high visual fidelity of virtual productions provides more bandwidth for the transmission of information and greater emotional impact. Compare the mixed reality (MR) ad that razor company, Gillette, broadcast live during a 2022 NFL game with a standard banner ad on a website - it’s plain to see which immediately grabs and holds attention and leaves a lasting impression on viewers. 

Beyond being more attention-grabbing, virtual production enables personalization/segmentation for ads and content. For instance, you could easily have the same "baseline" coffee commercial, but the cup changes from a tall latte to a cup of black coffee depending on the viewer. Product placement in TV shows and live events is also made easier with the ability to add virtualized products, such as a particular brand of car, pizza box, soda, etc. 

3. Virtual Assets, Experiences and Ownership
As the term implies, virtual production allows for the creation of virtual assets, experiences and ownership. As nearly all of our media consumption has moved to a digital realm, it is becoming paramount to come up with better ways of protecting and leveraging intellectual property. Virtual production is the perfect vehicle to provide controlled segmented and individual access to specific IP assets, down to individual characters, locations, scenes, etc, based on the viewers choice and purchases.

What this means is that you can choose when and what part of a performance or event you want to lock down for an experience and individual user. For example, Nickelodeon’s NFL Slime Time uses key game moments like touchdowns to create an experience with the addition of AR slime cannons and more. One can easily imagine versions of this where viewers could purchase completely unique versions of this experience just for them and their friends to experience.

4. Commodity Photorealism and High-Performance Computing
Easy access to high-performance computing via cloud and GPU, with photorealistic rendering and processing from modern game engines, allows for the creation of new types of media experiences and novel production methods. 

Commodity photorealism and high-performance computing are making virtual production accessible to everyone and making it look amazing.

5. Software Eating the World
Another significant trend that is changing the landscape of media production is the shift from proprietary hardware to out-of-the-box software solutions. In the past, media professionals relied on expensive, specialized hardware to run their workflows. However, with the increasing power and accessibility of high-performance computing, software-based solutions are becoming more viable and efficient. 

What Does This all Mean for the Future? 
Taken together, these trends point towards a future where virtual production is the default method of media production. 

As with any disruptive technology, there are bound to be winners and losers in the scramble to adopt. However, the trend towards commodification of virtual production and the increasing accessibility of software-based solutions suggests that the benefits of this technology will be democratized across industries, rather than concentrated in the hands of a few dominant M&E players. The result being that any business can create immersive and interactive experiences that drive engagement and brand loyalty.

With virtual production, media professionals have a powerful new set of tools at their disposal that enable them to tell stories and create experiences in new and innovative ways, where the possibilities are endless.

The role of the cloud is now well entrenched in broadcast and cinema production, but some traditional tools remain. This gives flexibility to production workflows that would have been unthinkable 15 years ago, when everyone’s attention was focused on the digital/HD transition.

At the 2023 NAB Show, April 15-19, there will be something old and something new. One of the latest technologies is the use of “volumes” to provide hyper-realistic backgrounds for live and cinema production.

The following is a sample of new production gear that will be shown in Las Vegas next month. 

Knocking Down Barriers
Pixotope, a provider of virtual production software solutions, will showcase its Graphics XR Edition, which includes a range of tools that simplify setup and operation in connection with the use of LED volumes, by reducing the technical complexities and associated resource costs of XR workflows and environments.

“With XR Edition, Pixotope is knocking down a major barrier to virtual production adoption by addressing the challenges that have previously made it difficult to leverage XR outside of major blockbuster productions,” said David Dowling, chief revenue officer of Pixotope. “It effectively removes the need for proprietary hardware, bringing users an off-the-shelf XR solution that enables bigger, better stories with greater ease.”

Blackmagic Design will roll out its line of network storage solutions, including Cloud Store, Cloud Store Mini and Cloud Pod, all of which let users share media files between multiple users on a global scale. The devices also understand proxy workflows, allowing a whole timeline and its media to be shared in minutes with responsiveness similar to a directly connected drive.

“We noticed how other storage solutions on the market didn’t offer the performance needed by the feature film and TV industry, so we took it upon ourselves to build something for our customers that’s not only fast but also reliable, portable and accessible in terms of costs,” said Bob Caniglia, director of sales operations for the Americas at Blackmagic Design. “The resulting Cloud Store, Cloud Store Mini and Cloud Pod are easy to set up and use, while providing secure access to media files globally with syncing and sharing media via Dropbox and Google Drive, allowing users from around the world to collaborate.”

Open Architecture
Panasonic will feature its Kairos line of IP-based production switchers. Kairos is an IT-based open architecture platform that enables functional enhancements and control linkage with external devices by adding software. At the show will be the next-generation Kairos Core 200 and Kairos Core 2000 mainframes, which offer improved functionality and performance, including many more inputs and outputs, improved video-processing performance and enhanced file-storage capacity.

Avid will be on hand to demonstrate its Maestro suite of graphics design and production tools for broadcasters. From news tickers and data-driven visuals to interactive and augmented reality content, Maestro provides solutions and tightly integrated workflows to add content on-screen in a coherent and engaging way.

LiveU will focus on flexible workflows such as remote/decentralized production, and cloud-based management and distribution help to allow delivery of high-quality, dynamic live content. LiveU will also showcase its latest 5G offerings and cloud-based solutions, which use the company’s low-latency, high-quality transmission protocols.

Rolling out its latest NDI-capable switchers is For-A, which will introduce the HVS-190, a 1-M/E version of the company’s flagship HVS-490 video switcher. As with the HVS-490, the HVS-190 also supports high-bandwidth NDI and NDI HX input and output. In addition to these switchers, FOR-A’s MFR-3100EX all-in-one production center, ClassX graphics, Insight media server, and SOAR-A live production platform are all upgradeable to NDI.

Ross Video will feature its 12G ready Ultrix FR12, the latest version of its award-winning Ultrix Router. The FR12 router has an integrated production switcher that allows customers to build an infrastructure with greater flexibility, performance and integration. The Ultrix FR12 is targeted at studios, OB vans and flypacks.

Monetizing Content
Dalet will highlight its Dalet Flex media asset management and workflow solution, which lets users seamlessly produce, curate, orchestrate, archive, deliver and monetize content. With its new mobile app, FlexMOBILE, you can bring the power of Flex to your fingertips with the ability to find, preview, comment, review and approve your assets from anywhere.

TVU will demo its RPS Link Encoder and Channel Plus. The RPS Link Encoder provides multicamera, synchronized remote production capability, targeted for use in remote locations where reliable wired IP connections are unavailable or inadequate. Channel Plus, a cloud-based playout service with integrated ad sales support, enables broadcasters to create live and VOD channel programming from a simple web browser with minimal training and experience.

Matrox will spotlight its ConvertIP line of 4K distribution products that can send zero-latency 4K over 1, 10, and 25 GbE cabling systems. Built on Internet Protocol Media Experience (IPMX), ConvertIP encoder/decoder line supports 4K60 4:4:4 IP signal transport.

Vizrt will highlight its AR and virtual studio capabilities in live production through Viz Virtual Studio and Viz Engine 5. Together, Viz Virtual Studio and Viz Engine 5 enable the creation of interactive 3D virtual sets, AR graphics, and mixed reality presentations, elevating audience experience through XR with hyper-realistic quality.

“Viz Virtual Studio in combination with Viz Engine 5 is a game changer for visual storytellers,” said Chris Black, head of brand and content at Vizrt Group. “Presenters can simply walk through 3D spaces, while the camera follows them and captures the interaction with XR infographics in an XR set that illustrates the story.”

NewTek will showcase the latest in its TriCaster line at the 2023NAB Show. On display will be the new Flex Control Panel, TriCaster Mini X, its sports replay solutions, and more. CaptureCast, the company’s flagship lecture capture solution for enterprise and education technology, will also be available.

Teradek, which will exhibit as part of the Creative Solutions Group in the North Hall, will focus on 4K with the debut of Prism Mobile, a camera-back video encoder with integrated cellular bonding, delivering 4K HDR live video from the toughest network environments. 

Teradek says it developed Prism Mobile “to provide better connectivity, seamless portability, and more reliable video contribution for professionals in the field.” It features two built-in high-performance cellular modems, and support for nine simultaneous network connections across WiFi, Ethernet, and Cellular offering the connectivity required for going live at sporting events, political rallies, and conferences. 

Pixotope will highlight its latest virtual production software solutions at its 2023 NAB Show booth, April 15-19 in Las Vegas

Pixotope Graphics XR Edition is based on Pixotope Virtual Production graphics software, and was developed in response to the growing use of LED volumes in virtual production, the company said. It includes a range of tools to simplify setup and operation by reducing the technical complexities and associated resource costs of XR workflows and environments. In addition, XR Edition brings Virtual Production a step forward in sustainability efforts thanks to the ways it optimizes hardware usage. 

Pixotope Fly TTL camera tracking software simplifies creating and tracking augmented reality (AR) elements with drones and cable cameras. According to the company, its unique markerless technology eliminates the complex set up and creative constraints previously imposed by tracking markers. Using computer vision technology to leverage video from the onboard camera to identify anchor points in the natural live environment, Pixotope Fly enables producers to add exciting realtime aerial AR graphics anywhere a drone can film, indoors or outdoors.

Pixotope will be in Booth C8725.

OSLO, Norway—Pixotope has unveiled its Pixotope Tracking – Fly Edition (Pixotope Fly), a new camera tracking solution that simplifies creating and tracking augmented reality (AR) elements with drones and cable cameras.

The markerless technology eliminates the complex setup and creative restraints imposed by tracking markers. It enables productions and live events to engage audiences with dynamic, real-time aerial graphics, the company said.

“We’re incredibly proud of what we’ve achieved with Pixotope Fly,” said Pixotope chief revenue officer David Dowling.

“It eliminates the resource-intensive set up required of existing drone tracking technology; it needs no specialist sensor cameras, markers or proprietary hardware to work, and it’s deceptively simple-to-use. All you need is a drone or cable cam and the software to get started. What would have previously required a helicopter and Hollywood blockbuster caliber post-production can now be achieved with a single software solution in real time.”

As a markerless, through the lens (TTL) tracking solution, Pixotope Fly uses computer vision technology to leverage video from the onboard camera to identify anchor points in the natural live environment, such as rocks, trees and buildings, to lock onto and track against 3D graphics, the company said.

The software uses these natural anchor points to generate a virtual point cloud set of digital tracking markers that responds and adapts to changes in the environment. This means producers can add AR graphics anywhere a drone can film, indoors or outdoors, with greater creative freedom and a more dynamic viewer experience, it said.

Among Pixotope Fly’s key benefits are:

• Streamlined setup and operation
• Untethered creativity
• Reduced risk for live productions.

Silver Spoon Animation used Pixotope Fly during stock car race coverage. One application was when a Pixotope Fly-calibrated drone pulled away into a wide shot, an animated graphic of the winning driver next to his car, surrounded by real-time particle effects, was shown, the company said.

“Thanks to its software-based TTL tracking technology, Pixotope Fly enabled us to go beyond what was previously possible in real-time and achieve extraordinary live effects for the client,” said Dan Pack, managing director at Silver Spoon Animation.

More information is available on the company’s website.

HEMEL HEMPSTEAD, U.K.—AE Live, a European-based provider of graphics and data solutions, and Pixotope, a developer of live augmented reality (AR), extended reality (XR), and virtual production solutions, are partnering to deliver a turn-key virtual production solution for broadcast, sports and live entertainment. 

The integrated system combines AE Live’s expertise in on-screen graphics, data and augmented reality with Pixotope Camera Tracking technology. 

“This end-to-end solution removes many of the challenges of traditional production,” said David Dowling, Chief Revenue Officer at Pixotope. “It provides a full-service platform for delivering unique and immersive viewing experiences that are a perfect fit for the way audiences consume data and entertainment today.”

The joint AE Live and Pixotope technology solution has been deployed successfully on several events across Europe including football, horse racing and rugby, with plans to expand its use on sports and events in the United States, the company said. 

The Pixotope real-time 3D tracking technology is an essential element of the company’s virtual production platform that incorporates graphics with camera tracking and talent tracking. The system is unique for its ability to combine all types of tracking methods, including mechanical, marker-based and through the lens (TTL) in a single software product.

AE Live delivers a full range of production technologies and services, from traditional broadcast graphics to augmented and virtual reality solutions designed to resonate with global audiences. The company’s graphics and data packages can also seamlessly integrate sponsorship opportunities to create additional revenue streams for rights-holders and broadcasters.  

“Technologies like augmented reality (AR) are no longer a ‘nice-to-have’ anymore,” said Dave Gill, CTO at AE Live. “Audiences expect more from a viewing experience, from immersive data-rich graphics that are customized for an event to compelling and convincing AR content. We’re able to deliver that while providing broadcasters with this easy-to-deploy comprehensive eXtended Reality capability.”

HONG KONG and SINGAPORE—As part of a push to expand its position as a global solution provider for virtual production used in live broadcasting, Pixotope has announced the hiring of Matthew Ma as general manager for North Asia, including China, Hong Kong, Taiwan, South Korea and Japan, and Andrew Tan as Asia-Pacific (APAC) vice president.

As general manager Ma, a former AWS and Avid employee, will be responsible for driving regional sales and advising on regional functions for marketing operations, including setting up distribution channels and building strategic relationships with other companies, Pixotope said.

“I am delighted to start a new chapter with Pixotope in this exciting period for virtual production. Having worked with the North Asia market for media and web technologies for many years, a key focus for this role will be building relationships with partners and ensuring consistent growth as Pixotope expands further across the region,” said Ma.

Tan, with more than 20 years of industry experience, will be based in Singapore. Before joining Pixotope, he held positions with Shutterstock, Ross Video, Kramer Electronics and Avid. At Pixotope, he will lead development and growth of the APAC team and build the brand in the region, the company said.

“Pixotope designs and develops the tools that our customers need to bring their creative vision to life,” said Tan. “I look forward to being part of their journey as we push the boundaries of production and produce amazing content. “

More information is available on the company’s website.

OSLO, Norway—The Future Group has introduced Pixotope, a software suite for commodity hardware that makes it easy and affordable to use 3D, VR, AR and data technology in video productions.

Available as a subscription-only package, Pixotope enables broadcasters and video producers to create real-time, cinematic-quality, cross-reality content, the company said. The new product closely integrates the Epics Games Unreal Engine to make possible creation of real-time graphics.

Pixotope’s real-time graphics processes include reflections, distortion, shadows, lightwrap and virtual camera moves.

The Pixotope software suite includes: Pixotope Director to control all aspects of the system; Pixotope DataHub, which offers an API for easy integration of multi-camera workflows, including MOS, custom control panels, DMX light control and GPI triggers; Pixotope Controller, which allow design and integration of control panels inside browsers on any device; and Pixotope Editor, which supports a WYSIWYG workflow for level layout, lighting, vfx, animation and compositing.

Pixotope tools include the Text3D GG, Pixotope Keyer and Pixotope Studio Creator virtual studio generator.

The software allows users to:

• Create virtual sets and AR with cinema-quality real-time graphics;
• Work with a single camera or multi-camera productions in which everything is synchronized and dynamically linked;
• Make all graphics work, from personalized sets to entire content sequences, data-driven
• Use off-the-shelf hardware and CPUs.

Monthly subscriptions are priced at $2,500 per camera channel.

More information is available on the Future Group website.