Artificial intelligence-powered media production solutions provider Emergent will unveil two new products designed to simplify and accelerate creation of broadcast graphics, virtual production and data-driven content at ISE 2026 in the ROE Visual booth, Feb. 3-6, in Barcelona, Spain.

“At ISE, we are demonstrating a fundamentally new way to create broadcast graphics and video content using AI,” Emergent CEO Grig Mindlin said. “Pulsar VS and Nova GFX are designed to remove complexity from production workflows and make high-quality, data-driven content accessible to anyone. This launch reflects our growing investment in AI-driven graphics production solutions and our belief that the market is ready for simpler, faster, and more efficient content creation.”

At the show, Emergent will debut Pulsar VS, an AI-powered virtual production and playout control solution that enables creators to generate virtual environments from a single prompt. Pulsar VS delivers AI virtual sets built to Unreal Engine quality, instant AI-generated and editable media and a streamlined setup that works with any camera-tracking system. The single-box solution offers intuitive playout control without requiring deep technical expertise.

The company will also launch Nova GFX, an AI-powered data aggregation and broadcast graphics platform that automatically transforms any data feed into broadcast-ready visuals. Nova GFX supports sports, finance, elections, social media and enterprise data sources, using AI design tools to generate graphics from prompts or live data.

The platform includes an AI-automated template builder for reusable designs, AI agents to integrate and convert data for multiple outputs and AI media tools to generate or enhance imagery in real time.

See Emergent at ISE 2026 in the ROE Visual booth 3C500.

More information is available on the company’s website.

2024 is a big year for newsrooms with a record number of elections taking place around the globe.

To enable news departments to deliver reliable, engaging and data-driven election results to viewers quickly, we have put together a comprehensive guide on the changes in viewing habits and audience expectations over the last few years, and how leading newsrooms are using graphics and technology to meet them.

What to Expect

Ross Video’s Election Graphics Guide is a comprehensive resource designed to help newsroom directors enhance their election coverage with better graphics and more efficient workflows.

In this guide, we discuss how the news media landscape has evolved and explore the technology newscasters are relying on to provide more engaging, more accurate real-time data to keep their viewers informed.

Specifically, the guide covers essential topics such as data integration, real-time updates, and effective templated design strategies, making it an invaluable tool for anyone involved in producing election-related content.

Who Should Read This Guide?

• News Producers & Newscast Directors
• Broadcast Professionals
• Graphic Designers
  

For expert insights on how newsrooms can get ahead in addressing their elections needs with cutting-edge graphics and production workflows, download your free guide.

MIAMI & PARIS —As the Paris Olympics games head into their final weekend, much of the tech talk has been about the use of AI technologies in the production of the games. But the games have also seen notable advances in a number of other areas, including virtual reality technologies and remote production solutions that have played an important role Telemundo’s Spanish-language coverage. 

During this year’s coverage, Telemundo’s main studio has been a photorealistic virtual set in Miami that looks like it is in the Trocadero, offering a stunning view of the Eiffel Tower. This technology, which was used successfully in previous events like the 2020 Tokyo Olympics and FIFA World Cups and developed in-house, has seen further improvements for the Paris Games and has allowed Telemundo to cover the Olympics with talent based out of its Studio L in its Miami headquarters. 

"For the Paris 2024 Olympics, we wanted to have the best possible spot in Paris, right in front of the Eiffel Tower,” explained Fabian Albaraccin, director real-time graphics at Telemundo. “We know that securing such a location is nearly impossible, so we recreated `Trocadéro Square’ with a stunning view of the Eiffel Tower and the city. “To accomplish this, we began working four months ago to ensure we could showcase the City of Light in all its splendor. We paid close attention to every detail to present a beautiful set to our audience.”

The virtual set, which was developed in-house by the Set Fabrication and Real-Time Graphics teams, combines green screen studios, physical scenic pieces, advanced camera tracking, and computer-generated graphics. The result, Telemundo executives say, creates an immersive Parisian experience without the high costs and weather concerns of on-location production. Real-time adjustable lighting and weather, along with augmented reality graphics also enhance Telemundo’s storytelling.

For graphics, the setup uses four cameras, the Stype/RedSpy tracking systems, the Blackmagic/Ultimatte chroma keyer, and is powered by Epic Games/Unreal Engine 5.3 and Chyron/Prime VSAR for graphics. 

Manashi Mukherjee, vice president of technical production at Telemundo explained that the set is located in Studio L, which is on the south side of the building where the larger soundstages are located. 

“We normally shoot our series in the studios on that side of the building along with special productions such as our recent `Billboard: Women in Music awards show,'” Mukherjee said. “On a regular production week, Jose Diaz-Balart’s 11am MSNBC show on weekdays and on `Saturdays for Nightly News' on NBC also originate in the virtual studio. During football season, we have Telemundo’s `Sunday Night Football' production as well in Studio L. For the Paris Olympics, we have been using Studio L seven days a week live on-air for Telemundo’s coverage.” 

“Universo, our sister network, is using the regular Sports (“Deportes”) Studio A which is also airing simultaneously from TC,” Mukherjee added. 

Wally Rodriguez, vice president of post-production noted that “we’ve had a dedicated studio for virtual production for almost five years, which makes it easy for both the technical operations team and the sports team because they have been using the set for a while now. Our camera operators, lighting personnel, audio technicians, producers, directors, anchors, and others are all familiar with the equipment and virtual production processes for day-to-day on-air operations. The use of moving lights allows the team to reset and use several various setups without moving any physical instruments.”

While the solution has been relatively easy to use, it did have to be adapted for broadcast. 

“Since Unreal Engine is a gaming software, we need to adapt it for broadcast purposes,” explained Albaraccin. “We are working closely with Chyron to provide a tailor-made solution that ensures Unreal Engine is stable and fully integrated with our state-of-the-art facility. Additionally, we create custom panels to manipulate Unreal Engine while we are on air. Because this is not originally a broadcast solution, we must bridge the gaps and create our own workflows. Using these panels hides the technicalities of creating and triggering the graphics for the shows so that producers can focus on content. Collaboration is key in these types of projects, and while our team handled the technology, we worked with Deportes producers and the Telemundo Scenic design team to ensure that the creative vision was met.”

The result has been an extremely realistic presentation that has greatly enhanced their coverage, Mukherjee said. 

“The virtual set has allowed us to showcase a much larger space than we would have used in Paris,” Mukherjee added. “The technology makes it possible to feel like the talent are there. The team has fine-tuned miniature details to give it a photo-realistic look that hasn’t really been used for broadcast television yet. The use of the Unreal engine makes it so that small details such as wind in the trees, cars in the background and even people walking around in the Eiffel Tower, can be used to make it feel realistic. The crew and the talent almost forget they’re on a green screen set, because they are looking at the composited images. Camera operators are moving the jib in the same way they would if they were in Paris. Advantages are lower costs for labor and materials than a regular set, sustainability, lots of flexibility in framing for example, we can move the set, instead of moving a camera and the ability to create a scene without being limited by the cost of materials or physical studio space.”

The set has also proved to be adaptable for a variety of events, in part, because it is relatively easy to train staff. “It was rather straight-forward to train the teams as most positions continued working the way they are used to as we have been using this space for about five years now,” Mukherjee said. “Camera operators, directors, producers, and talent see the shots with fully rendered backgrounds, so they don’t have to imagine what a shot will look like when they’re just looking at green screens.”

That will also help Telemundo in the runup to the 2024 elections and for other events. 

"We have a special that will be filmed in the studio after the Olympics wraps, and then outside of the normal news and sports production, we will be incorporating this studio into the upcoming election coverage,” Mukherjee said. “We haven’t seen the final graphics plan yet, but there will be a virtual component in play.”

MELVILLE, N.Y.—Chyron today released PRIME VSAR 1.7, which implements Unreal Engine 4.26, increases cameras per PRIME VSAR engine and adds new template-based tools to simply creating and managing broadcast-grade virtual sets.

The latest release makes it easier for designers to create compelling virtual graphics and puts power into the hands of producers and journalists to leverage assets across different channels and programs, the company said.

"Unreal Engine 4.26 brings some amazing new tools for designers, allowing them to make true-to-life animated character models and incredible natural environments with realistic lighting, atmosphere and water effects," said Mathieu Yerle, senior vice president of strategy and product at Chyron. "With Epic Games delivering these standout graphic features so consistently, we're able to focus our efforts on demystifying the Unreal VSAR workflow, turning it into something broadcasters can use to drive ROI in their everyday programming."

Version 1.7 also introduces a weather forecast template that is automatically controllable from a connected data source and a virtual screen template that can function as an easy-to-manage video wall within a virtual set, the company said.

"Not only do these tools streamline the creation process for designers, but all of these elements are directly editable and controllable by journalists and producers within any industry-standard NRCS via Chyron's CAMIO MOS-integration and template-management system. That's huge," said Dan MacDonald, senior product marketing manager at Chyron. "Now virtually the entire newsroom staff can take advantage of these incredible Unreal graphics and treat them just like they would any common news graphic, such as a lower third."

The PRIME VSAR engine itself is also receiving upgrades, now allowing two cameras to connect to a single system and thereby greatly reducing expenses in multi-camera deployments. Additionally, users can now dedicate an engine for real-time SDI previews of VSAR scenes for confidence monitoring of every take in their show, it said.

More information is available on the company’s website. 

ATLANTA—For the first time in its history, CBS Sports will deploy multiple 4K and 8K cameras at the Super Bowl to provide close-ups and alternative viewing angles for NFL fans.

CBS will use a total of 115 cameras including 16 cameras with 4K capabilities as well as nine Sony 4800 camera systems strategically placed around the stadium. The cameras will provide additional live game camera angles, and give the production the ability to replay key moments of the game in a super slo-motion and an HD cut-out with zoomed-in perspectives with minimal resolution loss.

This is not the first time 4K has been used in the Super Bowl; NBC deployed a number of 4K cameras for its coverage of Super Bowl LII in 2018. 

[Read: Falcons Debut ‘Halo Board’]

For the first time in a live network broadcast, multiple 8K cameras will be deployed in the endzone to cover the game (in what the network calls a “highly-constructed engineering solution”).

To provide virtual coverage, CBS will use a live, wireless handheld camera showing augmented reality graphics and up-close camera tracking on the field. This will allow the camera to get closer to these virtual graphics in a way that gives viewers different perspectives and angles including “never–before-seen” field level views of these graphics.

CBS will utilize four cameras (including the SkyCam) with live augmented reality graphics, plus an additional 10 cameras with trackable first-down-line technology. In all, 14 cameras creating virtual graphic elements that are completely manufactured will seamlessly blend in to the real environment of the broadcast.

Over 25 cameras will flank each endzone including HD cameras with super slo-motion capabilities, six 4K cameras, three goal post super slo-motion cameras shooting the backlines and 14 cameras embedded in pylons per each side of the field. A total of 28 pylon cameras will be a part of the 50-plus camera feeds from the endzones.

Super Bowl LIII will take place Feb. 3 at Mercedes Benz Stadium in Atlanta.