“We’re not known to back down from a challenge,” says Gideon Ferber, Senior Vice President of Product at Pixotope. “The subject of adding zoom capabilities to markerless TTL camera tracking has long been thought to be impossible, until now. With the ability to zoom, users experience the creative freedom to capture more dynamic and engaging shots while still enjoying the same streamlined setup and operation that Pixotope is known for. With the introduction of this capability, we’re opening up new creative possibilities and delivering greater operational efficiencies in the process.”

With Pixotope Fly, broadcasters are given an accessible out-of-the-box tracking solution to incorporate AR graphics indoors, outdoors, or in studio environments with precision and flexibility. Thanks to its advanced computer vision technology, the TTL tracking solution uses visual feature points like geological formations, tree patterns, or architectural details to dynamically anchor the AR graphics and create a virtual point cloud reference system that adapts seamlessly to changing conditions. This effectively eliminates the need for tracking hardware, such as physical markers, camera and lens encoders, and the associated costs that come with them. As a result, there is a notable reduction in both complexity and cost, increasing overall efficiency and accessibility for broadcast operations of all sizes while providing unparalleled creative freedom with a level of accuracy and flexibility that was previously unattainable.

Zooming In on Unprecedented Benefits
The addition of dynamic zoom capabilities to Pixotope Fly is paving the way for virtual production adoption with benefits such as:

Enhanced Operator Experience: Marker-based systems limit the type of shots an operator can capture due to restrictions like close shots requiring physical proximity and tracking disruptions in confined settings. Pixotope Fly zoom capabilities streamline production by eliminating the need for marker placement, allowing for reduced resource costs, enhanced tracking stability, and a wider range of lens options for more captivating and diverse shots without the headache.

Expanded Creative Flexibility: Pixotope Fly’s dynamic zoom functionality eliminates constraints associated with fixed camera lenses. This update empowers creators to capture intricate shots while maintaining consistent tracking. This milestone lets audiences get closer than ever before and grants creators unprecedented flexibility and creativity in their productions.

Elevated Viewer Experience: Allowing for the capture of complex imagery with a broader range of lens options, viewers can now expect even more dynamic and visually stunning shots, elevating the overall quality of content. Providing an incomparable level of immersion to the audience, producers can ensure every frame is a captivating visual experience that exceeds expectations.

“As we continue to push the boundaries of what’s possible, the addition of dynamic zoom capabilities to Pixotope Fly marks a pivotal advancement; we’re empowering operators to explore new creative horizons while reducing costs and enhancing tracking stability. In the process, we’re setting a higher standard for audience attraction and engagement,” concludes Gideon.

The post Pixotope adds Fly, zoom capabilities for TTL camera tracking appeared first on NewscastStudio.

The show, featuring hosts Craig Doyle, Jason Bell and Osi Umenyiora, originates from a virtual set environment created by MOOV that replicates the feel of a loft-style hangout space packed with football memorabilia.

The 3D environment features walls made largely from exposed brick along with industrial-style windows.

Throughout the virtual space are open shelves, glass display cases and wall-mounted installations of various items, including jerseys, team helmets, trophies, banners and framed photos. 

The space features multiple talent configurations, including sitting at a square table with the NFL logo on top or in front of a large virtual video window that has the feel of an oversized monitor — though its scale and ability to appear to float is a nod to the virtual nature of the environment.

Walls can also feature oversized painted branding, that include the show name and other text framed inside of an outline version of the league’s shield logo. Another area has a bold pink and teal mural, while the floor features an oversized outline of the shield and full logo.

The space also features industrial lamp fixtures as well as track-mounted spotlights. 

More subtle touches include accents such as what is presumably a Green Bay Packers branded throw on the virtual sofa along with what appears to be one of its famous “cheesehead” hats tossed on the cushion like a throw pillow.

In addition to the 3D environment, Moov also created the show’s graphics package, which includes rectangular insert graphics with angled ends. This shape is also used for on-screen score graphics, while more complex layouts such as results and standings appear in simple rectangles with the angular element inside of it and used to frame each team’s logo.

Team logos play a key role in many of the animated sequences of the look, as does side-to-side motion and angled reveals and exits.

The post ‘The NFL Show’ settles into spacious virtual loft space appeared first on NewscastStudio.

The feature debuted Sept. 28, 2023, with Storm Track 8 Meteorologist Marcus Bailey using it on the station’s morning news.

The segment utilized a wide view of one portion of the station’s set, which was updated in January 2023.

Bailey first used a virtual screen that rose up out of the floor to showcase a standard weather map, with the AR elements generated by the station’s Baron Lynx weather system..

Next, he offered a school day forecast as computer generated clasroom desks slid into the view in front of him. A large virtual chalkboard appeared, cover up the real monitor on the set wall behind Bailey. 

Bailey himself appeared to be standing behind the wooden table, trash can to the left of the chalkboard as well as the student desks spread out in front. That looks is, of course, a key hallmark of AR — unlike traditional chroma key weather maps, talent can walk around 3D objects.

Bailey then moved onto providing a forecast for the Indianapolis Colts vs. Los Angeles Rams game slated to be played at the Lucas Oil Stadium in Indy later that day.

In this scene, he was shown standing behind a 3D model of the stadium. Team helmets were added to the left with a floating screen above displaying a traditional weather graphic.

Bailey did discuss if the Lucus Oil Stadium’s retractable roof could be opened or not at game time though the roof on the virtual building remained tightly closed.

The post Indy station adds AR weather appeared first on NewscastStudio.

The station is part of the CBS-owned duopoly in San Francisco including KPIX, which brands on-air as CBS Bay Area.

KPYX, which has adopted the KPIX+ branding on-air, ended its relationship with The CW on August 31, 2023, as part of an affiliation change impacting eight stations owned by CBS. 

CBS announces how its CW stations will rebrand this fall

With the move, each station has carved out different approaches to fill their schedule with KPYX adding “Primetime Edition,” hosted by Devin Fehely.

The station’s renewed mission is focused on the San Francisco community with additional local news, event coverage and specials – led by “Primetime Edition.” 

“It’s got to look and feel like a primetime show, and we think we’ve come up with some ideas that will make it work,” said Scott Warren, president and general manager of KPIX and KPIX+. 

“The center of everything we do starts and ends with storytelling… If we have really great stories, really compelling stories that pull at your emotions and you learn something along the way, that’s the heart of what we’re doing, day in and day out,” said Warren. “Now we’ll add better ways to showcase those stories and different ways to tell those stories that will help convey more information, more emotion and actually immerse the viewer in the story itself.”

To realize this vision and prepare for the next generation of newscasts, the station has embraced virtual and augmented reality technology under Warren’s leadership, with support from the CBS News and Stations leadership team. 

“The appetite for storytelling in different ways and reaching an audience in a different way goes all the way up to the top of this company, and without that support, this would never have happened,” said Warren.

“We often talk about KPIX as being the innovation leader, the incubation team for the group,” noted Jennifer Mitchell, president, CBS Television Stations. 

KPIX was the first station to debut the new CBS Television Stations group graphics package, with the station’s team developing and troubleshooting the design integration with Chyron Prime. 

Exclusive: Inside the rebranding of CBS-owned local stations

Weather as the driver of innovation

“We think the most valuable place to start with this is weather. We’ve had two-dimensional maps on the wall that somebody’s pointed to for 60 years. The maps have gotten a little better but we’ve been doing the same presentation for 60 years,” said Warren. “Weather’s three-dimensional and weather’s immersive… That was the start of all of this, how immersive can we get in this?”

While “Primetime Edition” may initially focus the technology on weather, the goal is to move behind the anchor desk for as much of the newscast as possible. 

“We’re starting with the basics and then we’re going to continue to grow and add on. Weather is our starting point. After that, we think of it less as sets and more as storytelling environments where now your lead story is in the middle of a wildfire and we have a 360 camera up out in the woods… The ways that we can bring people to a story and into a story and immerse them in a story, and make them feel like they’re part of the story, that’s where we’re headed with this.”

While the presentation may start with familiarity, building from maps and charts, Warren envisions more interaction with data such as clouds and storms surrounding the weathercaster, as he breaks down hyperlocal conditions. 

“We will slowly start adding the storytelling environments and eliminating the time we spend on our hard set, to the point where you won’t see it very much more,” added Warren.

A new workflow for virtual production

Behind the scenes, the team including Jeff Jeandheur and Eliot Curtis have been working on the task of making virtual production more efficient for usage in local news, given the tight deadlines and typical story workflow.

“We feel that the technology — in all aspects of this — has finally reached a point where we can pull it all together to make it as photorealistic and dynamic as possible,” said Warren, who emphasized this level of production and output quality has not been possible previously at a local station.  

This includes tying the virtual production into the station’s control room automation and ensuring a constant flow of real-time data from a variety of sources.

“All the technology has been out there for years, but nobody’s pulled it all together to do this. So we now have an immersive environment with real-time data that all hooks into an automated control room, so you don’t need huge teams of people to run this stuff,” said Warren. “It can be done on a daily basis, a newscast basis, by the team we have… It’s really the brilliance of the team that’s put that all together.” 

Technology-wise, the virtual environments are powered by Zero Density’s Reality solution with rendering from the Unreal Engine and camera tracking from Stype. Myreze worked with the KPIX team on the initial virtual design, with the station’s team handling implementation and further customization. 

While “Primetime Edition” is currently viewed as an experiment, it may eventually lead to new methods of storytelling at KPIX and beyond.

Warren envisions journalists that are not only gathering video and interviews but potentially capturing objects to turn into 3D models for a newscast. 

Across the group, Mitchell notes the sharing and learning coming out of San Francisco.

“As we make decisions about building out new sets, about design, we are absolutely thinking about virtual versus a hundred percent hardscape,” said Mitchell. “We can learn from that [KPIX] team and scale when the time is right.”

The post KPIX+ brings virtual to primetime with new newscast, production workflow appeared first on NewscastStudio.

The virtual sets debuted July 17, 2023, on MSNBC’s “José Díaz-Balart Reports” with a separate model on July 22, 2023’s “NBC Nightly News.”

Both virtual sets lend some additional consistency to the on-air look of both broadcasts and also add the ability for it to appear that Díaz-Balart is standing on the actual floor of the studio thanks to wide, full body shots that attempt to account for how a floor would interplay with the camera angles.

‘José Díaz-Balart Reports’

Díaz-Balart’s edition of “MSNBC Reports” now originates from a 3D recreation of MSNBC’s Studio 3A in New York, mirroring the studio’s marble and gold accents.

For “Reports,” NBC recreated at least two key areas of the studio, including the two large LED video walls that meet at a 90-degree angle as well as the neighboring venue that combines an LED video column that segues into a ceiling element and the floor-to-ceiling video wall with the so-called “Kornacki Curve” ribbon segment.

In New York, the corner LED array typically displays a virtual set extension that was first used in the fall of 2021. These draw on a 3D environment that combines multiple curved, somewhat fantastical structural elements with nods to real sets, such as the former “NBC Nightly News” set on the west side of Studio 3A, mixed in. 

In Miami, Díaz-Balart can present from both seated and standing positions, including using an NBC peacock-themed anchor desk with a feather base and glass top. This desk had been used from when “Reports” originated from the primary “Noticias Telemundo” set and, later, the flexible modular space used for both “La Mesa Caliente” and “The Katie Phang Show.”

There’s a glitch in the matrix: Note how the anchor desk to the right of the presenter in this image has portions that disappear oddly. 

The broadcast is also able to incorporate on-camera moves and angles that interact with the virtual environment in real-time, as opposed to a more traditional chroma key background. These tend to be restricted more to simplified push-ins and adjustments as opposed to the more free-wielding handheld camera shots frequently used back in New York.

This includes bringing guests into the studio and shooting the setup with a combination of wide two-shots and one-shots on both the anchor and guest.

MSNBC also continues the practice of inserting topical graphics into various places in the virtual set extension backgrounds, including on the faux curved LED ribbon array camera left and curved wall-like structure to the right. These designs continue to draw on the blue, white and yellow look that also debuted in 2021.

Despite appearances, José Díaz-Balart is not in New York in this shot.

An alternate portion of the virtual set includes the part of 3A boasting the wraparound video ribbon element and the curved ribbon with flat video wall behind it.

Like the other recreation segments, the network can insert topical graphics across numerous parts of the simulated set and the software accounts for reflections on the shiny floor.

During a weather segment later in the week of July 17, the camera even moved in on the weather map being shown behind Díaz-Balart using the floating camera “walk and wander” and “video on video” technique that’s become popular across both MSNBC and TV news in general.

There was even an added element of realism as the camera shifted to that part of the video wall — the map became slightly out of focus to viewers. It’s not clear if this was due to an issue with the camera or virtual set implementation. While on-set video walls are not always the clearest when captured on camera, most broadcasters still attempt to keep the text and imagery on them as clear as possible and this map example bordered on being illegible. 

‘NBC Nightly News’

Meanwhile, NBC opted to use the setup with a different virtual set to recreate Studio 1A in New York.

“Nightly” moved to the space in September 2021 and takes advantage of its large, 40-foot video wall as well as various smaller arrays installed throughout the space.

Díaz-Balart can be shown standing in front of the largest video wall, with the anchor desk placed behind him, as branded and topical graphics are displayed on the virtual video wall behind him. Here to, the camera does have an on-air move, though, again, it’s not quite as dynamic or organic as the shots used in New York.

Díaz-Balart can also be shown in front of the dual video walls installed camera left of the primary area, which are used for the bulk of his reads. 

Here again, the background combines a virtual recreation of the structural elements while also inserting graphics that reflect the day’s news as needed. These shots notably do not include the on-camera jib-style moves used with weekday anchor Lester Holt in New York, though on-camera moves are still possible.

This implementation is notably distinct from what NBC had been doing behind Díaz-Balart’s Saturday editions of “Nightly,” though both techniques did attempt to create the illusion he was in New York.

A September 2021 screenshot from ‘NBC Nightly News’ from Miami prior to the broadcast getting a new logo and graphics.

For a period, Díaz-Balart had been appearing in front of what was essentially a composited image of 1A that was being fed to a video panel sitting behind him. This setup is known within NBC as a “news nook,” though it is more appropriately known as an insert studio.

These setups typically include a single camera, often robotic, with a place for talent to sit in front of a video screen that can be used to showcase graphics or live camera feeds, creating the illusion the person is sitting in front of a window, printed graphic or, in more recent applications, a portion of a real set. In some cases, insert studios also use chroma key backgrounds to insert backdrops. 

When images of a real set are used in this type of setup, it’s not technically what most would consider a full virtual set — since, for example, there is limited ability for talent to interact with the backdrop. When a physical monitor is used, there can also be a limited ability for the camera to push in or out or make framing adjustments live on air (though this depends largely on the size of the screen and position of camera).

When the camera pans, tilts or zooms on talent sitting in front of a monitor, the image of the monitor remains in a fixed X-Y coordinate behind the person since it’s not being keyed in. On-camera moves in front of chroma key are typically more limited because they create a strange effect of the key image remaining the same perspective and scale while the person moves around.

Before the implementation of the virtual set in Miami, “Nightly” was able to replicate, in a more limited manner, the feel of Díaz-Balart being in New York. The new application is notable for its wider framing and the addition of camera tracking. It also allows for shooting full-body shots of Díaz-Balart standing, ostensibly in front of a large video wall. 

This June 24, 2023 image appears to be using the virtual set technology instead of an insert studio-style setup. Note the change in lighting from the image immediately above this one as well as the slight glow on the anchor and slight jagged edges around his shoulders. 

Prior to July 17, Saturday “Nightly” editions featuring Díaz-Balart began to take on a slightly different feel with how he was lit. Small imperfections around his shoulders began to appear — and a slight, almost imperceptible colored glow appeared around him. In hindsight, it appears likely that NBC was testing out the new virtual set look in simplified ways ahead of rolling out the broader use.

So far, “Nightly” has not attempted to recreate the “video on video” floating camera “walk and wander” shots that typically accompany the top story each evening as the anchor reads copy.

The July 17 edition of the broadcast did include a similar voiceover from Díaz-Balart as graphics, imagery and maps were shown fullscreen, but the network did not attempt to simulate these as if they appeared on the actual set.

From a technical standpoint, this is understandable. These shots typically use much more complex camera moves and have to be timed tightly, so it may not have been possible to recreate these looks reliably. 

In theory, these could have been created either by piping in live or pre-taped shots from the real 1A over Díaz-Balart’s voiceover, though this would have required coordinating between two locations and having a crew to staff both studios, something that might not be logistically advisable, especially on weekends.

The network could have also grabbed imagery of the set in New York, imported them into project templates with frames for dynamic topical imagery to be inserted onto the spaces occupied by real LED and then either played them back in real time or as pre-recorded video clips. 

Why Miami?

Díaz-Balart became anchor of Saturday editions of “Nightly” in 2016. He sometimes traveled to New York to anchor the program, though that practice was slowly eliminated. The COVID-19 pandemic essentially put a complete end to that travel, though it still could happen to this day if, for example, Díaz-Balart needed to be in New York for another reason.

This meant that Díaz-Balart, who anchored for Telemundo, which is based outside Miami, would largely remain stationed in Florida and it essentially became the permanent practice for him to anchor both his MSNBC and “Nightly” from the state.

For a period, the insert studio solution was used to create some visual consistency between New York and Miami broadcasts, though they were much more limited than a full virtual set. It appears that NBC is doubling down on ensuring that Díaz-Balart can remain stationed in Miami for most broadcasts.

A different kind of virtual set

Although the setups being used for “Reports” and “Nightly” in Miami would largely be considered virtual sets by most, there is a slight distinction.

Both virtual sets are based on an actual set and use textures and imagery of those real sets, as opposed to being a fictitious 3D environment created in a rendering program like many virtual sets lean heavily on.

That’s not to say that imagery of real environments has never been used in a virtual set.

The background appears to combine still photos of studios in New York with a combination of 3D mapping and full 3D elements. 

This approach actually helps add to the realism of the virtual set. For example, the images captured of the real spaces include slight imperfections in the flooring material. There are also visible tape marks in some views.

While these could be considered “imperfections,” they also help bring the slight variations that occur in materials on real sets that make the look more believable. 

In this composite created by NewscastStudio, enlarged screen shots of the Miami virtual version of the Studio 1A set, top, and real life version, bottom, are shown. There are clear differences between the structure, depth and texture between the real and faux one; there is also a distinct lack of reflections from the desk in the virtual version.

One notable oddity, however, is the empty anchor desk that NBC typically places in front of the large video wall in Studio 1A. In New York, as shown in the detail of the screen grab in the lower part of the image above, the desk has all the shadowing and lighting variations that one would expect of an actual, physical piece of scenery sitting on a real floor.

However, as the screenshot above that shows, the desk is much simpler when it appears behind Díaz-Balart. Shadows are not nearly as detailed and the backlit blue segments are almost entirely the same shade as opposed to the varying intensities in the real thing. There are also obvious differences in the placement of the metallic piping on the front of the desk; as well as glaring differences between the materials and lighting of the base of the unit.

Because of this, the virtual version is likely based nearly entirely or completely on a 3D model of the desk. Why? Likely to because it was too difficult to get the reflections from the virtual video wall to interact properly with the “glass” top of the desk in the virtual iteration. 

Did it work?

While the virtual sets used on both the MSNBC and NBC broadcasts do help establish a consistent look with the other editions of the broadcasts, the look does ultimately still suffer from parts that don’t feel quite right.

Using a recreated real spaces does go a long way in helping create a more realistic feeling.

The MSNBC version is also aided significantly by the fact it relies heavily on virtual set extensions that appear to have been designed to straddle the space between the real and unrealistic.

Similarly, “Nightly” benefits from having a good portion of the backgrounds being graphics instead of real scenic elements. 

That said, there are still those slight issues — such as that “too perfect” anchor desk — that tug, almost at an unconscious level, that something doesn’t quite match up.

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Catalyst Stage builds upon the technological and conceptual milestones achieved during the production of Disney+’s hit series, “The Mandalorian.” However, the stage extends beyond the series’ notable accomplishments, providing a scalable and adaptable platform that can support both live multi-camera productions and cinematic-quality projects.

The new studio’s technology can render any setting, real or imagined, from mimicking an existing studio to a stadium. This is made possible by the collaborative effort of the Disney Entertainment and ESPN Technology teams, who have developed proprietary software to power the Catalyst Stage.

“Catalyst Stage removes production and creative limitations that come with singular, purely physical environments. In this studio, we can place our show and talent anywhere – the top of a skyscraper, a virtual twin of an existing studio, a newly-created fully-rendered studio, or the middle of a football field…you name it,” said Tina Thornton, head of content operations and creative surround, ESPN.

“If we imagine a setting, we can create it. And it allows rapid scalability in live, custom cinematic-quality, and advertising productions.”

Making this possible are tools including Ghostframe, Unreal Engine, Disguise XR, Pixotope and a robotic camera system from Mark Roberts Motion Control. This also marks the first fully robotic studio for ESPN.

Operating on 26 real-time servers, the stage can render 11 million pixels in its LED volume, refreshing 7.6 thousand times every second. ESPN notes the studio uses the largest and most complex Disguise XR system ever built for television production – processing 120 gigabytes of data every second. NEP Group handled the integration with LED from ROE Visual. 

“Our new Catalyst Stage showcases the ingenuity of the Disney Entertainment & ESPN Technology team, expanding the boundaries of production and elevating the canvas of possibilities for content creation. While we are introducing this at ESPN, Catalyst Stage will enable new opportunities in advertising, and showcases the extraordinary capabilities we are advancing for the entire Walt Disney Company,” said Aaron LaBerge, president and CTO, Disney Entertainment and ESPN Technology.

The studio is designed to adapt to ESPN’s production needs and can output in a variety of formats such as 1080p or UHD all the way to 4K.

While the Catalyst Stage has initially been built for ESPN, the advancements from this project will benefit other parts of Disney in the future, the company notes.

ESPN’s Catalyst Stage joins the revamped Studio A in Los Angeles for Fox Sports, which debuted last fall for the NFL season. That studio uses similar production tools to blend physical and virtual elements in a large LED volume.

The post ESPN embraces virtual production with Catalyst Stage appeared first on NewscastStudio.

The segment was created by the Telemundo real-time graphics team using Chyron Prime VSAR and Unreal Engine for rendering.

The segment begins with a shaky handheld-style shot showing the corner of a house’s front porch as a funnel cloud looms in the distance.

There are wider views of the surrounding landscape interspersed during the segment, with semi-transparent white and yellow graphics added, frequently appearing to be aligned with a focal point in the scene or over a key part of the concept being illustrated.

With rounded corners, microtext and rectangle accents, these graphics have a decidedly “high tech” look.

These become particularly important when the segment has to explain air currents and direction — a concept that is largely invisible. Like in many weather maps, a combination of lines, circles and arrows are used to illustrate the path of the wind, including how it begins to form the infamous funnel shape.

The segment then moves inside the virtual house, with a large appliance crashing through a wall as the importance of finding an inside room for safety is noted.

Near the end, the correspondent is shown climbing into a bathtub and placing a mattress on top of him — a common piece of tornado safety advice given for cases when there is no basement or one cannot be reached. 

The segment then illustrates an apparent direct hit of the twister on the house — with the view, in a rather cinematic style, switching to the talent’s point of view before crashing into darkness. This blackout is used as a transitional element to cut to a wide view of the talent emerging from the tub after the virtual storm has destroyed the structure. 

Telemundo’s team added some details to the segment that helped make it feel more realistic — including the wobbly nature of many shots, having the talent pass behind porch columns and then through the front door. 

There is also a well-timed reaction to the appliance breaking through the wall, though the on-screen response feels a bit staged.

Some final details that add a particularly nice touch include the tub wobbling slightly with a light thud sound effect as the correspondent steps out of it and a depiction of the many of the same items shown just inside the home just moments before now mostly destroyed or scattered in the background. 

The post Telemundo touts twister facts, safety in virtual explainer appeared first on NewscastStudio.

At the center of this is ‘Shimmer,’ a golden simulation technique that forms the visual language for ESPN’s NBA Finals coverage.

This technique, developed by Panoply in collaboration with ESPN Creative Studio, morphs and transforms into various assets related to the finals – from the iconic NBA trophy to team logos. The scalability of this approach allows for a wide range of visuals, offering a unique blend of versatility and spectacle with elevated textures for the championship event.

‘Shimmer’ is not a standalone element, however.

To accentuate it, Panoply created a backdrop crafted from basketball court floorboard configurations inspired by the patterns created by opposing magnets and loose iron filings.

“Shimmer” was created by Panoply with a procedural pipeline that could process new 3D elements to help future-proof the design and allow its evolution in the coming seasons. 

View on Giphy

Adding mixed reality for a unique open

Adding another layer to this intricate presentation, ESPN debuted a mixed reality (MR) opening sequence for the finals.

Unlike traditionally animated opens, this approach combined visual techniques to offer unique storytelling, involving the expertise across all of ESPN Creative Studio.

View on Giphy

The mixed reality sequence showcased the history and significance of the NBA Finals, linking past NBA legends like Larry Bird, Magic Johnson, Michael Jordan, and LeBron James, with the present competition for the Larry O’Brien trophy. 

Powered by Unreal Engine and created in partnership with Panoply, Two Fresh and Silver Spoon Animation, the mixed reality environment was captured through an intricate setup involving five cameras including two in the arena for the final composition with augmented reality graphics. 

This combination of MR and traditional broadcast elements weave a compelling narrative showing the journey to the finals and what’s at stake. 

View on Giphy

A season of change for the NBA on ESPN

For the 2022-2023 season, ESPN launched a complete overhaul of its NBA broadcast design, working with studios FutureDeluxe and Two Fresh.

ESPN brings movement, cohesion to NBA and WNBA branding

This redesign introduced new animations, colors, symbols, and integrated real-life elements, from the silhouette of Lakers legend Jerry West, known as Big Jerry, to the detailed texture of a basketball. The same level of attention extends to the transitions and sequences.

The design includes raised dots on the basketball, movement through cracks in the hardwood floor, and curves that echo the arc of a shot ball. Team-based animations are also customized, featuring the palette of each team and dynamic energy surrounding player headshots or names.

The WNBA has also introduced many elements of the package with customizations for the league’s unique color palette. 

The post ESPN elevates NBA Finals with ‘shimmer,’ mixed reality opening appeared first on NewscastStudio.

During “News Central” on June 7, 2023, anchor Sara Sidner tossed to broadcast meteorologist Dereck Van Dam in the CNN Severe Weather Center to provide another perspective on the smoky conditions areas of the Northeast U.S. is experiencing due to wildfires in Canada.

Van Dam took up the story as a rather indiscriminate cloud of smoke hovered in the upper right of the screen for quite some time. The effect was difficult to see, given that the semi-transparent graphical representation of the smoke only occupied perhaps the upper one-eighth of the about two-thirds of the way across. 

The most obvious sign that something was there was that the red column and row of video panels on the weather set were slightly obscured.

Things got a bit more exciting when Van Dam noted that the smoke does result in some stunning sunsets — at this point the cloud grew slightly in size and shifted to a rusty orange, becoming easier to see. There was also a slight burst of light representing the sun.

In this iteration, the effect mostly covered the row of video panels on the studio wall, but a small portion peeked through in a shade that happened to closely match the sun-cast effect, making it look, at least at a quick glance, the there was some sort of odd glitch in the graphics causing the ethereal smoke to form a very unnatural right angle.

Finally, as Van Dam noted that the smoke can settle toward the ground, an additional faint gray overlay entered, covering about half of the screen. The effect was little more than a graphic of semi-transparent whisps.

CNN was apparently attempting to add a bit of augmented reality to its segment, but ended up adding another example of how using visual effects for the sake of visual effects isn’t always the best move.

While the smoke effect would technically qualify under the AR banner, the segment featured no camera moves and did not include an instance of Van Dam interacting with the smoke as if it was an element in the space of the studio, such as standing in front of it. The effect could have been created by simply overlaying an animation with an alpha channel on top of the camera feed.

At certain points, when Van Dam’s hands would gesture toward the middle of the screen, it appeared his hands were behind the smoke, as opposed to an effect making it look like he was in front of the virtual element.

In some ways, an effect like that would have actually made the segment a bit more effective since viewers would at least be able to see how the smoke could affect visibility as was better illustrated in Athena Jones’
live shot immediately preceding Van Dam’s segment. 

To be fair to Van Dam, he did offer another visual — holding up his own “asthma pump” (a small white inhaler) when notating how the smoky conditions could affect those with respiratory issues.

The post CNN shows us that smoke looks like, well, smoke appeared first on NewscastStudio.

The team at France 2 used Unreal Engine to recreate an out-of-this-world view with a presenter standing on a circular dais made to look like he is standing on the surface of one of Jupiter’s moons.

Various facts and stats about the plant and its moons are covered and animation is used to showcase the size and scale of the JUICE probe as well as the moons themselves when compared to Jupiter, the largest planet in the solar system. 

One portion of the segment features an extraction of the moon to show what scientists believe is inside, while other effects mimic possible features of the moons.

Jupiter itself consists primarily of gases and is uninhabitable by any known lifeforms, but JUICE hopes to explore moons for possible other characteristics that could support life.

Art direction for the segment was provided by Thomas Lagache with Mathias Baudet of FreeLens under the direction of Nicolas Chateauneuf and Cynthia Gravet.

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