Although augmented reality virtual studios have been around for decades, their use is only now coming of age. Previous barriers of price, design quality, graphics performance, and ease-of-use have disappeared, resulting in comparable costs for traditional studios with practical sets versus new studios with AR and VS.
Discussing the topic in our third look at blending real and virtual sets are Mark Bowden, Senior Product Manager, ChyronHego and Dave Larson, General Manager, Ross Virtual Solutions.
Dr. Amar Bose used his innovation and imagination to create a highly successful company, which still carries his name. To pass on his knowledge, he was a professor at MIT for more than 45 years.
Since small format video began, videographers have been forced to invent many of the tools they needed. In one niche area — a very important one — three videographers are now competing to build the best software to automatically sync audio with video.
The Interrotron is a variation of the teleprompter and used to interview subjects. Rather than seeing text over the camera’s lens, the on-camera interviewee sees the face of the person asking the questions.
With the Consumer Electronics industry hell-bent on making Ultra High-Definition (UHD) television sets and other related products the next best thing, the video production and distribution community is looking to help with content—now that we all know what “UHD TV” actually means.
In the second part of our look at augmented or virtual reality elements in virtual sets we’ll start by explaining the difference between AR and VR. The terms augmented reality (AR), virtual reality (VR), virtual studio and virtual set are all referring to different flavours of the same technology but just emphasise different features.
What broadcast engineer, video or audio technician or camera person hasn’t wanted to work the Super Bowl? Being part of the broadcast team for the most high-profile event in U.S. television is considered by many to be a career-crowning achievement. For those who do work the Super Bowl, it may be just another weekend football game—albeit one with an intensity that is off the chart!
The ATSC continues its work on the next-generation television standard, known as ATSC 3.0. The committee is now looking for ways to deliver an immersive audio experience in the form of multiple channels which enable consumers to focus on specific “objects” or audio elements within content.
