We investigate the opportunities robotics present in novel applications, the evolving needs for smaller, quieter equipment and the new skill sets required in this rapidly changing landscape. The conversation also taps into the voice of customers, uncovering their current demands and expectations from robotic technologies. 

Industry Insights: Latest advancements and trends in broadcast robotics

What opportunities exist for using robotics in new ways?

Karen Walker, VP of camera motion systems, Ross Video: Robotics are being used in a variety of applications, whether it’s for speed, efficiency, consistency, or remote production. Having operators control cameras from different locations allows for efficient and consistent news briefs/infills. As robotic cameras become smaller and faster, they can be used to enhance products, add second-screen applications, and add footage to enhance the story. A spidercam is a great example where it provides more creative shots to enhance the production and can keep up with the action.

Michael Cuomo, engineer, Telemetrics: What we’re seeing now with customers is we’ve always traditionally been involved in producing heavily scripted broadcasts. For example, TV news studios. We’ve expanded into live or auditorium type of spaces, talk shows, etc. We offer a product called reFrame Server, whereby it extends the capabilities of AI-assisted talent tracking to up to five cameras simultaneously. 

Neil Gardner, senior product manager of robotics, Videndum Production Solutions: The use of robotics has traditionally been restricted to well-structured productions. New technologies allow the robots to automatically adjust to changes, accommodating more dynamic content. As a result we’re seeing robotics used in productions previously considered as unsuitable because of their less predictable format, such as game shows.

Paddy Taylor, head of broadcast, Mark Roberts Motion Control: Robotics can also be used to improve the efficiency and safety of broadcast operations in a variety of ways. For example, our remote robotics like the POD and SR-1 allow camera angles to be captured where it is not possible for a human to go such as a ceiling or high up on a stadium roof.

James Eddershaw, managing director, Shotoku: We are constantly amazed by the many different ways our customers want to use broadcast robotics. Whether it’s a traditional studio floor camera, a ceiling rail system, or a remotely installed camera on the other side of the country. No two customers have identical requirements so we must ensure our systems can adapt to whatever customers want to throw at them!

How are manufacturers addressing evolving needs like smaller footprints and quieter operation?

Karen Walker: In general, the robotics used in studios are quiet; they have to be. Size is also important, as cameras have become accepted fixtures on-air. Compact PT heads prove versatile, finding applications beyond the studio setting. For instance, in newsrooms, reporters can swiftly deliver updates in their environment without the constraints of a traditional studio setup, enhancing the adaptability and efficiency of these systems.

Michael Cuomo: Telemetrics makes a line of compact robotic pan/tilt heads, the PT-CP-S5, and a self-contained RoboEye 12G 4K system that fit nicely in space-constrained environments and are designed to accommodate smaller cameras, even DSLRs for nature photographers. For us, developing new robotic systems is not only about smaller footprints, but also blending into the environment. So yes, smaller. Yes, quieter, but also aesthetically blending into the set.

Neil Gardner: This has always been a consideration for us because facilities vary across the world. Our product design minimizes the number of moving parts to reduce the number of components that can create noise and all products are tested for acceptable noise levels in a sound-deadened room before shipping. Other features, such as adjustable bases on Elevation Units acknowledge the growing use of non-specialist facilities by allowing the equipment to be repositioned through standard doorway thresholds.

Paddy Taylor: For us, the use of robotic arms is a way of creating far more impressive movements with a smaller footprint on a much more consistent basis. Our Studiobot robotic arm is a solution that can address the issues that are caused by cranes or jibs relatively limited range of motion, and manual operability, which inevitably led to inconsistent shots.

James Eddershaw: The need for smaller, inobtrusive robotic cameras has always been a key requirement. With every new development it is important to balance the contradictory demands of small physical size, core mechanical stability and long term reliability. Such as looking at the latest digital servo technologies to get the most power from the smallest package, while ensuring years of trouble free operation in a 24/7 live broadcast operation.

What new skills are required for technical directors, operators and other users to master studio robotics?

Karen Walker: I don’t think new skills are required; it’s more about letting creativity flow and users trying new shots with the robotics. We’re dedicated to simplifying robotics control, empowering operators to effortlessly capture the creative shots envisioned by directors. Our focus includes introducing features such as MotionDirector for seamless sequences tailored to enhance the show, AI capabilities for precise talent tracking, and flexible configurations that adapt the robotics to the operator’s preferences.

Michael Cuomo: Production people are being asked to do more today than ever before. Previously they would have just been asked to handle the robotic controls and now they’re being asked to do the robotic controls and being asked to do camera shading. Sometimes they’re also having to control audio and other parts of the production. So, I think that’s where it’s really important that the robotic system is easy to use and quickly accessible to perform robotic moves.

Neil Gardner: On the contrary we’re working to reduce the level of skill required, to extend robotics operation to a wider team of people. We don’t see why a director shouldn’t be able to control robotics when necessary, particularly with the implementation of voice controlled systems. Building on the lessons learned during Covid, this allows facilities to run with fewer people on site, ensuring studios can always be brought to air for breaking news events or emergency situations.

Paddy Taylor: Getting familiar with the rise of AI and the advantages of computer vision driven software. Our tracking solution Polymotion Chat is an example where three or four camera positions can be automated and tracked which does the heavy lifting and allows the operator to focus on control and creativity.

James Eddershaw: In fact the trend is to simplify the operation, and include as much automation in the workflow, so mastery of the system should be well within the existing skill sets of most staff members within the control room. We strive to make learning to use the system as quick and easy as possible.

What are you hearing from customers today?

Karen Walker: Customers continue to look for quality solutions that can be relied on every day, 24/7. They are also looking for more automation and preventive solutions, and finally, easy integration with equipment from various manufacturers.

Michael Cuomo: Increasingly, we are being asked to not only just talk about the robotics, but other devices that the robotics are touching. So consulting on cameras, lenses, teleprompters, and being able to offer that as a full turnkey solution is, is really beneficial for them. They know if they’re going forward with the robotic solution, they feel comfortable with everything that’s going to go along with it.

Neil Gardner: We are often asked for the ability to run studios more efficiently. Employing automation allows customers to compete more effectively by producing a wider variety of content with the existing workforce. More and more studios are also being asked to integrate their robotic control system into the corporate network, which introduces the need for security features such as encryption, and the ability to operate within the enterprise infrastructure in accordance with IT policies.

Paddy Taylor: Broadcasters are under pressure to save money, so they are investing in flexibility and automation through robotics. This allows them to do more with less, by reallocating staff members to be able to operate multiple channels through software and workflows from a single location.

James Eddershaw: Customers continue to face economic challenges which makes the use of robotics and greater automation more important than ever. Without exception our customers demand ease of use, rapid return on investment, and dependable reliability over many years of use.

Industry Insights: Latest advancements and trends in broadcast robotics

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Key discussion points include the integration of artificial intelligence and computer vision, enhancing automation and real-time presenter tracking in studio environments. We also explore the role of IP networking in expanding remote broadcast capabilities and delve into the precision and accuracy required for live broadcasting. Innovations in control systems, camera movement, and integration with other studio equipment are highlighted, revealing the increasing sophistication and efficiency of modern broadcast robotics.

This roundtable provides a concise yet comprehensive overview of the current state and emerging trends in studio robotics, offering valuable insights for broadcast professionals navigating this technologically advanced landscape.

What key features are shaping the capabilities of the newest generation of broadcast robotics?

James Eddershaw, managing director, Shotoku: Robotics have always been about more than just cost saving. They require performance and reliability of a very high level, but ultimately efficiency savings are key. Consequently, automation compatibility and features like presenter tracking are therefore key areas of development in the latest robotics systems.

Paddy Taylor, head of broadcast, Mark Roberts Motion Control: Taking the example of our own product Polymotion Chat, AI or computer vision-powered robotics now automatically tracks and frames presenters and guests as they move around the studio. The advent of 5G is also providing the high-speed, low-latency connectivity that is essential for next-generation remote broadcast capture and acquisition.

Neil Gardner, senior product manager of robotics, Videndum Production Solutions: Broadcast robotics are advancing with higher degrees of automation, fueled by the capabilities of IP and the introduction of AI-driven technology. We are also repurposing features from other equipment such as Voice prompting to move away from the need for dedicated control hardware. This extends the reach of the system, both in terms of location and people, allowing remote locations to be set up with minimal resource and improving accessibility for less experienced operators.

Michael Cuomo, engineer, Telemetrics: Robotic camera control systems are being asked to drive more cameras/elevating pedestals/trolley systems and distribute more capabilities from a single control panel. This frees up the director or TD to focus on other parts of a production. Providing compatibility with IP networking is also important.

Karen Walker, VP of camera motion systems, Ross Video: A key challenge faced by our customers involves studio robotics navigating around structures in the studio, especially the increasingly popular moving LED screens and dynamic in-studio structures. As shows become more engaging and dynamic, the demand for seamless coordination with these elements intensifies. Our customers are actively seeking solutions with a focus on achieving cleaner floors, concealing cables effectively, and optimizing space by integrating ceiling rail systems. 

How are robotics manufacturers ensuring precision camera movement and positioning for live broadcasting?

James Eddershaw: On-air quality camera movement requires core mechanical stability combined with powerful motion control algorithms. The accuracy and repeatability of studio positioning for fully robotic pedestals is especially important and that’s now being enhanced through the use of optical navigation systems providing always-referenced absolute position information (like a personal GPS system for the pedestal).

Paddy Taylor: MRMC’s heritage is in motion control, so the robotics we use are far more advanced than what most broadcasters use today. Our robotics are built for high performance, repeatable camera movement that gives frame accurate stable shots, as well as shots that are impossible to capture by hand.

Neil Gardner: Integrating an optical camera tracking system into a robot ensures consistently precise floor movement and has the added benefit of removing the need for repeat homing operations after the initial calibration. Where sensitive areas of a studio, such as high-value display equipment or structural features, need to be protected we add on the ability to position the robots within a studio map using a geo-fence.

Michael Cuomo: All of our robotics have a capability called “absolute positioning,” whereby there is no drift and no need for rehoming. They’re always millimeter accurate. I think that’s really important so that they don’t have to call up a shot and then the operator has to go over and adjust it. They know if they call up that shot and they take their eye off the camera, it’s going to get spot on, dead accurate every single time they call for it.

Karen Walker: Our robotics are designed to meet specific requirements and undergo rigorous testing to meet all requirements before shipment. This ensures our customers’ expectations are consistently met. The longevity of our products and the return on investment they offer contribute to customer satisfaction, fostering loyalty when they choose to upgrade their robotics.

What new directing workflows are emerging with the latest studio robotics control systems?

James Eddershaw: Broadcast robotics have been a common part of news studio equipment for many years, so workflows have already adapted to maximize the use of robotics. As we see greater and greater levels of automation being used, robotics are becoming even more widely integrated into the automation workflow. Automatic tracking of presenters and guests, with the ultimate goal of operator-less productions, is an emerging area of technology development which we expect to see more of.

Paddy Taylor: We are seeing a rise in the use of PTZs rather than manually controlled cameras. Through the advancements in PTZ camera technology, combined with MRMC’s PTZ enablement solutions, PTZ’s offer much more dynamic movement versus static cameras.

Neil Gardner: Presenter tracking technology is leading to a completely new workflow which moves away from using a grid of pre-set shots. Operation will focus more on telling the camera what framing is needed and allowing it to take over and maintain that based on the presenter’s position.

Michael Cuomo: The most useful workflow for a robotic camera control system is — when calling up multiple cameras — to have them move to a new location very quickly and smoothly. And, going back to the Path Planning, being able to move around set pieces has been really important because in the past maybe operators would have to have an extra couple of cameras so they don’t have to move the cameras quite as much. But now a lot of customers are using less cameras to be more efficient. 

Karen Walker: Customers are increasingly automating show direction, requiring seamless integration of robotic cameras and control systems. We’ve noticed the exploration of voice control for task management, though it has not yet made its way into control rooms.

How can studios effectively integrate robotics with cameras, lenses and other systems?

James Eddershaw: Integration with lenses is a basic necessity for any robotic system. Today, lenses will almost always have full digital servo systems making integration with robotics very easy. Similarly, many have integrated VR/AR tracking data output, too for easy combination with the other robotic axes within a VR environment. Most camera systems now provide an API for remote operation of CCU functions enabling fully integrated IP-based camera and robotics control into a single control system.

Paddy Taylor: Through well-designed software that can act as an integrator of these waypoints. The systems should be able to enable the creative freedom of human movement and pair it with the precision and reliability of robotic camera systems.

Neil Gardner: Broadcast robotics have integrated with many systems for a long time, but as everything moves to a more sophisticated IP environment a robotic control system with modern enterprise-level architecture will integrate more simply into the wider corporate network. If a studio is moving towards broadcast robotics for the first time, selecting hybrid robotic/manual equipment allows users to move between manual and robotic operation as the production requires.

Michael Cuomo: Telemetrics camera control panels all include software features for painting cameras, adjusting/focusing lenses, smoothly panning multiple cameras simultaneously, if required. Our robotic systems provide power, control data and the connectivity, which is really important. So with cameras, that means providing power for the cameras. That also means providing control, whether that is over a remote port or over a network. Same thing with the lenses.

Karen Walker: Most studio robotics are agnostic of the cameras, lenses, and other equipment, such as the prompters being used. The key is to ensure that the payload is balanced, and we test all variations of payloads. It’s the inertia that affects the way the head moves, and without testing for worst-case scenarios, the precise movement will be affected and not meet customer expectations.

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The launch aligns with RTL’s exclusive free-TV partnership with the NFL, a significant move for both the broadcaster and the league, with the NFL also playing a game in Germany during the 2023-2024 season.

The preseason kickoff was hosted on August 12th by Nitro, a channel within the RTL network known for catering to niche interests. This event also marked the inauguration of RTL’s freshly minted live studio, replete with advanced Leyard Europe LED screens.

The journey to this state-of-the-art studio began in February when RTL collaborated with Veech x Veech, an Austrian design firm. The partnership aimed to craft a studio that was not only visually striking but also technically superior.

Laurin Schmid of Leyard Europe (Planar) played a pivotal role, ensuring that the LED screens chosen would offer optimal color rendering for broadcast without common issues such as moiré patterns. RTL’s previous positive experiences with Leyard in other studio settings laid a foundation of trust, influencing the decision to continue with Leyard’s technology in the new NFL studio.

“The preference for Leyard LED solutions by both the Veech x Veech team and the end client is rooted in past positive experiences with our products,” said Schmid.

“For instance, RTL has already successfully incorporated Leyard products in four other studios across Germany. This historical context solidified the choice of Leyard as an LED manufacturer for the new NFL studio.”

Despite the complex nature of such undertakings, the studio was completed within a short timeframe. A concerted effort from various teams and efficient use of Leyard’s Slovakian manufacturing resources were key to meeting the tight schedule, a task typically spanning up to two years but accomplished in mere months.

The studio’s design features a 360-degree layout with four main LED walls. The on-air team, comprising commentators, analysts, hosts and presenters, navigate the studio’s centerpiece – an 11.5m by 2.7m curved video wall made of Leyard AT 1.5mm LED panels. This curved design is a familiar aspect to RTL viewers, reminiscent of other network studio setups.

The studio doesn’t shy away from integrating social media, sporting a vertical LED wall for the community host to display content in a mobile-friendly vertical format. The moderator’s desk is flanked by multiple LED screens, supporting the detailed analysis and vibrant graphics that will keep viewers engaged.

Schmid underscores that Leyard’s offerings are not only top-quality but also sustainable, providing a long-term solution for RTL’s broadcasting needs. The on-camera performance of Leyard’s screens, backed by a lifetime warranty, was a convincing factor for RTL.

The successful completion of RTL’s innovative NFL studio showcases the synergy of quality, reliability, trust, and teamwork. As the 2023/24 NFL season unfolds, RTL Deutschland is poised to deliver an unrivaled viewing experience, leveraging its latest technological advancements.

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Initially launched in September 2017, the set was designed by Broadcast Design International and mirrors other CBS Television Stations in the group, with bands of blue scenic elements and video walls wrapped by metallic frames. 

Set Design

WCBS

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The main anchor backdrop, formerly comprised of 15 LCD displays, has been replaced with a 1.2mm pixel pitch LED wall measuring nearly 24 feet long by 7 feet tall. This backdrop continues to feature skyline imagery with the “deconstructed eye” branding. 

The camera left stand up area, meanwhile, was updated with a 1.8mm pixel pitch wall measuring 12 feet by 7 feet.

WCBS broadcasts from Studio 46 at the CBS Broadcast Center in New York City, with the set occupying nearly every inch of available space in the studio. Given the potential sale and relocation, it’s not surprising the station opted for a refresh versus a complete set overhaul – such as recently seen with KCAL News in Los Angeles or CBS Philadelphia. 

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‘CNN News Central’ debuts NYC edition with video wall plentiful format

Billed as a “visual-first” approach to delivering the news of the day, “CNN News Central” serves as a “core hub of CNN’s best-in-class newsgathering operation.”

The strategy is inspired by the network’s special event programming format, according to a CNN source.

In the past, CNN has kicked off coverage of everything from elections to the State of the Union by leveraging video wall graphics that showcase key facts, timelines and visuals along with anchor reads.

CNN says shots like this election night look inspired the new ‘CNN News Central.’

Now, the network has doubled down on the format and will bring it to its viewers every weekday for six hours each day.

The morning iteration of the “News Central” broadcast, which launched April 3, 2023, goes up against multiple hours of “MSNBC Reports” on MSNBC and “America’s Newsroom” and “The Faulkner Focus” on Fox’s cable channel.

It will eventually replace all six weekday hours of “CNN Newsroom,” the name the network has used for its rolling dayside news coverage for years.

The afternoon edition, which will originate from Washington, D.C. with, like its morning counterpart, editorial support from Atlanta, will join the schedule April 17, 2023.

CNN hopes that its unique take on delivering the news will help it stand out from rival TV and streaming offerings.

‘MSNBC Reports’ often uses video walls to showcase topical imagery and text, not shown, behind anchors.

While other broadcasts, including both Fox and MSNBC, leverage video walls and graphics behind anchors and hosts as well as “video on video” and “walk and wander” floating camera shots, CNN’s approach does stand out for its focus on adding in additional layers of visuals and information thanks to the network’s suite of technology-driven storytelling tools. 

This 2018 screen capture shows ‘Fox & Friends First’ using a video wall to toss to a live shot along with a locator map.

CNN also is using three anchors per broadcast, with one typically handling each segment solo.

MSNBC typically has a solo anchor for each hour, while Fox mixes both multiple and single host formats throughout the day. 

However, CNN is also differentiating itself by having all three anchors appear across all three hours of each block.

“Our anchors complement each other and bring different interests, personalities and rich sets of expertise to the table. We’re able to tap into CNN’s global newsroom of experts across subject matters, covering the latest developments whether domestically or internationally,” the network told NewscastStudio.

CNN also says it plans to retain the same feel of the program when it airs during breaking and developing news, which will require the editorial teams to cull facts, information and visuals in near real-time in order to stay true to the approach. 

Advanced display and real-time graphics tools make it possible for any TV news outlet with similar tech to create layouts on the fly if needed, though the information and formats will naturally vary depending on what’s being covered, much like the network is already using a mix of visual storytelling approaches for ongoing news coverage that’s produced in advance.

Because much of the video wall content complements each story rather than competing with new developments, CNN will also largely be able to have its anchors insert new information and details as they are made available during any segment.

CNN as a whole is the midst of a bit of reinvention of itself — after years of laggard ratings, the failure of streamer CNN+ and a series of high profile talent issues. It’s also changed hands and has new leadership, former “CBS This Morning” and “The Late Show” exec producer Chris Licht. 

Warner Bros. Discovery took over the network in 2022 as part of its acquisition of WarnerMedia, almost immediately shuttering CNN+ and eventually implementing cost-saving measures and layoffs.

‘CNN Primetime’ banner takes over 9 p.m. hour

Now, as it turns its eyes toward the future in an increasingly cluttered space, the network will need to attract new viewers with its new programming approaches, including an hour in primetime that changes based on the news cycle and new morning show “CNN This Morning,” among other initiatives from Licht. 

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The update moves ORF to a single operator format for its production control room, which the Austrian public broadcaster notes will enable additional news output.

Set Design

ORF News

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The 2,000 square foot studio includes four Ikegami cameras atop Vinten robotic pedestals with Autoscript prompters. In the studio’s grid, a fifth camera moves along a rail to provide a birdseye view and for dynamic toss shots between segments. 

The cameras are equipped with the Mo-Sys StarTracker system to allow for augmented reality production.

Three LED video walls measure nearly 90 feet in length, with approximately 650 square feet of LED panels in the studio.

These video walls wrap from behind the anchor desk to a secondary presentation area with a smaller wall used for weather in the middle. 

The anchor desk features a dramatic base that helps it to float over the glossy riser with integrated lighting. The desk top also features integrated lighting with a pop of color via a red light cove. 

Overall, the design uses clean, industrial-style metal elements in the header and footer with a bit of texture added on the floor. Cove lighting is integrated throughout, allowing the set to quickly take on different tones and moods. 

The studio includes the latest in lighting gear from ETC and Kino Flo in the grid. 

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The overall theme of the rebrand and RTL Info’s new slogan translates to “by your side, to see it even more clearly,” with many of the visual changes aligning with this idea of clarity.

The updates begin with the modernized logo for the programming, cleaning up and simplifying the previous mark with a simple orange dot that becomes a hallmark throughout the motion graphics. The logo includes a heavily customized “RTL” with rounded edges, setting “info” in lowercase using Gilroy.

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In the motion graphics, this orange dot radiates from the center of the studio to open the various news bulletins, appearing in augmented reality graphics to note the broadcast hour. 

The graphics use the flat design style with simple blue and white boxes for most insert elements, often using the studio’s LED walls to present information or showcase story imagery. 

The new RTL Info studio design is based on a simple circular shape which is reinforced by inlaid floor lighting and a circular desk. This space is ringed by a curved LED wall comprised of Planar (Leyard) AT Series panels with two Ross Video Furio floor-mounted camera systems following the shape on either side of the anchor desk.

These tracks include three cameras, using Ross Video VR heads with Grass Valley LDX box cameras and Canon lenses including a Digisuper zoom. A third Furio track is directly in front of the anchor desk along with a traditional pedestal camera, with five cameras used in the studio. 

“Our relationship with RTL goes all the way back to 2014, when the original studio was designed and built to include the Furio robotics,” said Miguel Declerck, senior business development manager for EMEA and APAC, robotics at Ross Video. “For the new Info studio, RTL wanted to make sure they were able to keep to budget and achieve a completely different look. Working closely with our team, a new rail system was designed and implemented to seamlessly integrate into the look of the studio whilst still providing the same quality and reliability from the existing Furios. RTL also upgraded their software to include MotionDirector which has enabled them to combine human intervention when needed whilst still managing an automated process to deliver the best results,” Declerck added.

This comprehensive setup allows the network to virtually expand the set through virtual set extensions, adding a faux mezzanine with glass railing and views of workspaces. This theme is also used for the video wall graphics, which include blurred views of a newsroom scene with dramatically lit columns and architectural features. 

Frosted glass panels, with a gaussian blur effect, are also featured on the video wall with a world map and branding for the current news hour. 

The anchor desk, meanwhile, can be configured in various ways with its two wings moving on small tracks embedded in the studio floor. 

New music, an updated website and mobile app accompanied the other changes. 

The overall design and technology setup is similar to VTM News, another Belgium broadcaster that has updated recently. The two networks partially share ownership via DPG Media, each focusing on a different language population in Belgium. 

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The changes come after nearly a decade of broadcasting from Broadcasting House in London, with Studio E reportedly next in line to see updates. 

BBC News Studio B gets new set after nearly a decade

Deadline, which does not typically cover studio robotics or broadcast technology, frames the upgrades as a way to reduce “viral tech fails” and as automation run amok. However, given the age of the studio and current robotics system plus the rapid pace of advancement in broadcast technology the upgrades are no surprise – especially with the recent relaunch of Studio B.

BBC News has undertaken a larger reinvestment in Broadcasting House which will see additional studio and technology upgrades, sources have confirmed with NewscastStudio.

Inside Studio B, Electric Friends supplied robotic cameras with special modifications to hold Autoscript teleprompters. These cameras move on pre-determined paths embedded in the studio floor, similar to the current Ross Video Furio track-based solution in Studio E and Studio C in Broadcasting House.

Studio B’s implementation, however, does not require bulky tracks or visible cables. 

At BBC Cymru Wales New Broadcasting House, which went online in 2019, robotics from Shotoku are utilized including a ceiling-mounted robotic camera system. 

The robotics tie into BBC’s automation system which drives multiple facets of news output and leads to the hallmark opening of BBC News’ broadcasts – the robotic cameras circling the main anchor desk as the music counts down. 

BBC did not respond to NewscastStudio’s request for comment on additional studio changes.

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Built inside of the 5,000-square-foot Studio A as the primary home of Fox’s NFL and MLB coverage, the set features hard scenery on one side of the space with a double-height LED volume on the other.

The hard scenery, from Jack Morton Worldwide, is dominated by honey-colored wood planking and faux concrete structural elements that frame out seamless LED video walls.

“Inspired by the sleek, curvilinear aesthetics of modern stadium architecture, the set maximizes the studio’s potential while pushing its look and functionality far forward,” said Larry Hartman of Jack Morton Worldwide. “With flowing shapes that define the studio, the design dramatically takes full advantage of the space, embracing its immense size and high ceilings, featuring a fully functional second-story mezzanine.”

The primary setup for “Fox NFL Sunday,” which airs before its weekly NFL coverage. The anchor desk can also be positioned to take advantage of the studio’s other LED wall or the area under the balcony. 

The set’s primary anchor desk can take advantage of multiple backdrops and is fronted with seamless LED in a custom shape. For “Fox NFL Sunday,” the desk typically sits in front of a two-story video wall framed with curved corners and bisected by an edge-lit continuation of the functional mezzanine above.

This large LED canvas can showcase imagery of stadiums and fields, often modified to feature Fox Sports branding as if it were being shown on the venue’s digital signage. 

On either side of this display are two LED columns, each spanning two levels, that typically display subtly-animated depictions of Cletus, the Fox Sports robot mascot. 

Camera right of the desk is a wall primarily filled with additional seamless LED framed by angles and curved corners and capped with an internally lit Fox Sports logo featuring edge-lit segments above and below. 

Those angles and curved corners are used throughout the space and extended reality elements to create polygon-like shapes in the scenery, a shape that purposefully avoids any reference to a specific sport while channeling the look and feel of Cletus’ shell. 

An open staircase leads to the second level. Featuring a glassed-in workstation area surrounded by control room-like monitor walls and an additional video wall venue outside, glass railings here also create an open feel and limit obstructions on the LED wall on wide shots. 

Behind the staircase is a wall with circular backlit cutouts in various sizes embedded in a textural gray wall. This echoes background features found on either side of the main anchor desk. 

“Fox Sports has always considered its flagship studio to be a ‘working set,’ with producers, researchers, and other support staff visible at workstations in the background,” said Hartman. “‘The Skybox,’ an upper-level workspace enclosed in curving glass, is arrayed with bands of monitors constantly updated with the latest game footage.”

The Skybox also includes carpeting woven with a shifting elliptical pattern, wood and gray accents and a 3D Fox Sports logo.

Below the balcony is an alcove with an additional video wall along with more workstations. The balcony also includes a smaller set with a secondary desk that can be used for smaller productions. 

Multiple angled elements in a combination of wood and gray tones contrast dramatically with the angle of the staircase. Portions of these are installed parallel to each other with alternating finishes and integrated edge-lights that continue into the header area. That then flows into a vertical separator between the hard scenic and LED volume.

The LED volume inside Fox’s Studio A was designed and integrated by NEP Sweetwater. The volume’s walls are constructed from ROE Visual’s Black Pearl 2V2 (BP2V2) panels.

The LED volume, which comes in at just over 46 feet wide by about 24 feet deep and 19 feet tall, features four LED surfaces — including the floor — that result in over 5,100 square feet of diodes. 

Nicknamed “The Cave,” Fox can use virtual set extensions that mimic the look of the scenery’s walls and floors, including template-driven video-within-video layouts inside the volume. This look allows the virtual and hard scenery to be combined into a single unified look, while also offering the flexibility of changing the look of the volumetric environment for unique segments and events.

It can also be used to place talent inside simulated environments that are less realistic but carry through with many of the same design elements found on the hard set.

In all, 36 Vizrt and Unreal Engines power the space, allowing it to switch between various looks developed with the help of Girraphic.

In the opening broadcast from the space, this included a darker, more fantastical set extension that creates the illusion of an expansive, hangar-like environment. In total, 41 real-time graphics channels can be outputted at any time for the studio’s various video walls and virtual displays. 

Fox can also use the LED volume to recreate various other environments (including stadiums and fields), a feature that allows the commentators to recreate plays or illustrate strategy on virtual turf. 

“The result is a hybrid environment where the physical and digital backgrounds co-exist and adapt to best support the programming,” said Hartman.

But engineering the hybrid environment took a truly engineered solution to ensure a seamless presentation and adherence to California’s strict seismic building code.

“The entire set is built on an 8-inch high steel deck that fills the studio and allows integrated floor light boxes and the LED tiles to sit flush. This raised deck allows for counterweight for the sizable ‘floating’ portions of the mezzanine level,” said Hartman. 

A 60-foot steel beam was added, with rods connecting to the ceiling to provide support for the set structure. 

The studio is equipped with Stype camera tracking and GhostFrame’s multi-source technology to bring viewers an additional level of perspective when using the volumetric space. 

What the LED volume looks like with GhostFrame activated. Each camera pointed at the volume can be set to only pick up LED elements at a specific refresh rate, ignoring the others. This allows different cameras to have different backgrounds, which is often used to make the virtual environments and imagery more realistic on screen. 

GhostFrame allows each camera pointed at the volume to have a unique background layer added in. This means it can output different backgrounds from what the talent natively sees on the LED panels by having different cameras look for the LED pixels set to specific refresh rates and ignoring the others.

Stype is also used in conjunction with more traditional augmented reality elements, including team logos and player photos. Talent can interact with virtual and extended reality elements with their hands or through the use of wireless tablets.

Additionally, Fox Sports upgraded the studio’s lighting grid with eight automated ladder trusses that create an unlimited number of lighting positions without blocking key shots. Each truss includes automated lights and can rapidly move or disappear when not in use. 

Photos courtesy of Fox Sports and Raeford Dwyer / Jack Morton. 

Project Credits

Fox Sports
Eric Shanks – CEO and Executive Producer
Brad Zager – President of Production and Operations, Executive Producer
Gary Hartley – EVP/Creative Director
Mike Wilken – SVP Systems and Technology
Gina Porretti – SVP Studio Operations
Melissa Garcia – Studio Operations Manager
Daryl Moore – VP FOX Sports Systems Engineering
Michael Dolan – SVP Design
Zac Fields – SVP Graphic Technology and Innovation
Jessica Nguyen – Director Project Management
Chris Smith – Coordinating Producer Real Time Media
Rob Rees – VP Fox Sports Production and Post Production Engineering
Chris Ruiz – Director Fox Sports Production Engineering
Nole Eldridge – Sr. Manager Fox Sports Broadcast Systems Engineering
Trevor Candler – Fox VP Plant Operations and Construction
Lani Matsunaga – Fox Executive Director Plant Operations and Construction
Sigi Soriano – Fox General Foreman Plant Operations and Construction
Jim Vechiarelli – Studio Foreman

Scenic Design – Jack Morton Worldwide
Larry Hartman – Senior Design Director
Jim Fenhagen and Andre Durette – Design Leadership
Evan Hill – Designer/Project Management Director
Chris Maroney – Illustration Art Director
Raeford Dwyer – Graphic Design Art Director
Ben Bauer, Lauren Barber, Derek Van Heel, Daniel Prosky and Graham Caulfield – Drafting
Tristan Howard and Ruth Shorten – Production Support

Virtual Design – Girraphic

Fabrication – Showman Fabricators

Scenic Fabrication, Technical Design, and Installation by Showman Fabricators, Inc.

Bob Usdin – President and Account Executive
Viana Segarra – Project Manager
Katy Lai, Novella De Angelis, Project Coordinators
Drew Farrow – Lead Technical Designer
Kelly Fayton-Hrdy, Ashley Haughwout, Colin Nickel, Ben Frechette Technical Designers
Mike Riccio Director of Technical Design
Chris Meems, Director of Production
Lucas Hickman, Chris Dono, Dave Marcus, Chris Ciociano, Foremen
Aris Paganakis – Lead Carpenter/Installation Lead
Chase Brooks – Lead Automation/Scenic Lighting Technician
Henry Morales – Installation Technician
Dylan Kaye- Onsite Scenic Charge
Tony Menditto, B.R. Delaney, Ted Wondsel, Lead Rigging Team
Elliot Bertoni, Show Deck Installer
Serge Gountas Automation and Electrics Department Head
Spencer Padilla, Automation and Electrics Department Lead
Ryan Poethke, Automation and Electrics Department Detailer
Chase Brooks, Automation and Electrics Shop Lead and Installation Tech
Jennifer Orellana, Scenic Charge
Sami Adamson, Scenic Second
Cory Einbinder, Graphics Department Head
Waring Webb, CNC Department Head

Engineering Consultation – Clark Reder
Daniel J. Clark, P.E.

Additional scenic fabrication by IDF Studio Scenery.

Lighting Design – Airtime Lighting Group
Jeffry Gregson – Lighting Consultant/Designer
Dave Thibodeau – Lighting Design/Lighting Director
James Beaghan – Gaffer

AV Integration – NEP Sweetwater
Ron Drews – President
Chris Mitchell – Director of Special Projects
Greg Correia – Project Manager
Bill Hodson – Systems Integration
Zachariah Bellomy – LED Lead
Thomas Sean Bartley – LED Lead
Darren Correll – LED Lead
Hugo Pineda – LED Lead
Steven Kozakowski – LED Lead
Michael Grubbs – LED
Joey Di Benedetto – LED
Jared Gaxiola – LED
Michel Rodriguez – LED
Austin Cardenas – LED
Leigth Mitcheltree – Director of Buisness Operations
Hank Tracy – Director of Project Management

The post Fox Sports combines tech, scenery in massive Studio A overhaul appeared first on NewscastStudio.

“This was something that has never been done before at this scale on a live broadcast, said Zac Fields, the division’s senior vice president of graphic technology and integration. “Because of this, much of the workflow is custom. We spent a lot of time doing demos and tests proving out various features.”

In many ways, this project personifies the Fox Sports way of creating bold looks that take risks — all in the name of bringing an unmatched experience to viewers’ TVs.

The project required collaboration between house engineers, in-house software engineers, artists and vendors, including the design team at Girraphic, who handled virtual set extensions, video wall and volume graphics and extended mixed reality features.

Fox Sports Creative Services created some of these elements, and Girraphic was tasked with using its expertise to get the designs into Vizrt and Unreal — while also designing elements from the ground up.

This process started with design meetings that covered all of Fox’s goals and vision for the space.

“Our team explored how these segments were already run and what their current look was, and what kind of fun tools we could create to help bring the segments to life. We wanted to ensure that these segments still felt familiar and usable not only to the Fox control room and on-air talent, but also the Fox NFL fans,” explained Girapphic CEO Nathan Marsh. 

A Fox executive vice president, Gary Hartley, reached out to Girraphic in January 2022 and the team headed to L.A. to see what scale the Fox team had in mind.

Fox’s NASCAR studio in Charlotte.

For the new Studio A, Fox opted to implement all of these technologies and design elements on a massive scale – taking many of the lessons and confidence it had gained from implementing earlier applications of extended reality for its NASCAR coverage in a North Carolina broadcast facility that came online a few years ago, which is primarily based on green screens.

For its signature studio in L.A., green screen was quickly eliminated as an option knowing that it was reaching the point where innovation had flattened. Instead, the network opted for an LED volume.

Typically massive stretches of seamless video panels arranged in wraparound walls that can also cover the floor and ceiling, LED volumes are becoming increasingly popular in film and TV production as a way to place talent inside of a space that might have been shot on green screen before. This technique comes with the added advantage of requiring less post-production, having more realistic perspective shifts when the camera moves and also letting talent feel as though they’re in the environment being portrayed. 

One application of LED volumes are scenes that involve characters driving in a vehicle. Before, this was often done with a vehicle frame placed in front of a green screen. Post-production would add elements such as passing traffic out the rear window of the vehicle, as well as different views for one-shots of characters with the side windows as backgrounds. Some would even edit in subtle reflections on the windshield or other glass to increase the realism.

Now, even a relatively small LED volume can be used to shoot these types of scenes, with video loops shown in the wraparound LED video wall showcasing the background elements. Some setups even include a ceiling-mounted array that provides real reflections on the glass.

There have also been other types of film and TV scenes shot on volumes, often combined with hard scenic when a character has to interact with the scenery — such as hiding behind a rock or wall or using a prop.

Once the decision had been made to use a volume, Fox’s team wasn’t content to stop there.

Do not adjust your TV set: This is an example of what the LED volume might look like in-studio when GhostFrame is active. It might seem like a random combination of multiple layers, but each camera, such as the one on the left, can only ‘see’ one of the layers thanks to the fact that each is on one of four unique refresh rates.

It blended in technology from GhostFrame which separates the imagery shown on the wall into four refresh rates. Each camera is tuned to a specific rate and is thereby able to ignore the other backgrounds. 

The human eye, meanwhile, can’t typically distinguish between refresh rates, which is why we see the odd, layered look. To the talent and anyone standing in the studio, the image is a bit unusual looking — often with repeating versions of the same graphics in different positions. In this case, it’s still visible enough so that talent can be guided to point to the correct area of the volume, for example, giving it another leg up over traditional chroma key surrounds. 

“The technological advancements that Fox made this year will influence sports broadcast for years to come,” said Marsh. “Live broadcast is beginning to have the ability to match film-quality productions in a fraction of the time, and this will only continue to improve.”

Combined with Stype Spyder camera tracking monitoring camera positions and the ability to direct cameras to only relay the imagery displayed at a given refresh rate, this gives Fox the capability to show different backgrounds behind different cameras.

While this could, in theory, be used to showcase entirely different environments on each camera, Fox has mostly tied in GhostFrame with the camera tracking and rendering engines to allow each camera angle to capture a different version of the sample environment, but with some subtle shifts to the perspective. This makes the end result feel realistic while not limiting it to looking like it’s simply being shot against three video walls as a theatre set might be.

In this image taken during production of the ‘Fox NFL Sunday’ season kickoff open, talent is shown standing in front of and on the image of a street corner displayed on seamless LED panels. The shot is relatively tight, so it doesn’t fill the entire volume, and portions of it are skewed in order to account for how the buildings would appear to the eye if they were real. (The camera doesn’t capture the empty black parts.)

Feeding perspectively distorted backgrounds on different portions of LED volumes to account for different camera angles has been a common technique, though these typically involve the volume showing a segment of the background adjusted for the viewer’s perspective while other parts remain in their default view. Because of this, there can’t be any overlap between where each camera is pointed, since it would create an odd look. 

However, with GhostFrame technology as part of the secret sauce, each camera only sees its assigned refresh rate — which means the director and other crewmembers in the control room can see exactly what that shot will look like when it’s punched up — and not the multi-layer version seen in the studio.

Fox Sports already has multiple options for using the volume, which are typically built around a 3D model of the virtual space that’s rendered and then broken out by GhostFrame as needed. It can be used to create an indoor field of sources, allowing talent to demonstrate plays as well as showcase virtual set extensions with a variety of topical graphics inserted.

Furthermore, plans call for more innovation, which is possible thanks to the dynamic and flexible system Fox and Girraphic engineered. 

“I feel like we are just scratching the surface with the LED volume. As we grow, these environments will evolve from being spaces for the talent to more functional interactive environments,” said Field.

In addition to the volume, Fox can also bring in extended reality elements throughout the space, including both the volume and hard set (or shots that include both at the same time). These are typically more in line with ones that have been widely used in the past, such as floating panels or giant freestanding cutouts showcasing player photos and stats. 

These digital effects have their own dedicated Unreal engines.

Fox has control over the obvious things like player photos and video, but they also have control over some unique pieces. For example, in the ‘On the Field’ segment, their operators can change things like the time of day or even the color of the crowd’s jerseys.

“We have control over the obvious things like player photos and video, but also have control over some unique pieces. For example … operators can change things like the time of day or even the color of the jerseys the crowd is wearing,” explained Marsh.

This is accomplished with help from Erizos control integration.

Girraphic reviewed Fox’s current workflows from their other shows and stages and worked with Erizos to recreate some of those on its platform, allowing operators to get hands-on with the new controls with minimal effort. 

This required finding a way to make it easy for operators to control 36 real-time engines efficiently. 

Inevitably, broadcasters have to plan for contingencies, which could include failure in one or more components of the systems that run the LED volume and rendering. There are spare renderers available that can be brought online if there’s a failure on a primary one. 

There’s also the option to shoot around a malfunctioning part of the volume — whether it’s a rendering software or hardware failure. The system can also remove GhostFrame to simplify processes and still shoot against other backgrounds, depending on the segment.

Finally, the network ultimately can fall back on its hard practical set on the opposite end of the studio. 

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