April 2014
www.tvbeurope.com
The combination of live and virtual material can seem complex, but it can end up achieving more realistic scenes, optimising designers’ time and even reduce costs
floating point framebuffers allows set rendering to provide 10- or even 12-bit resolution. This, combined with a full shader-based pipeline, paves the way to a fully photo realistic set. Lang: The increase in a
system’s capabilities; graphics card, processor, keying, etc, is making it possible to produce a complete show out of one box. This opens the doors to smaller organisations being able to do virtual productions. Pancake: I think the most significant development in the virtual studio and chroma key video production space has been the reduction in overall cost for camera technology. The quality of DSLR video cameras and more traditional HD video cameras has made green screen video production so much easier than in the past. This has in turn led to an overall increase in the amount of post production and virtual set/virtual studio video productions. The second significant development has to be the internet as a video content delivery system. Ten years ago, many viewers were still struggling
with a slow dial up connection. Even five years ago, few viewers had the ability to watch video content streamed from the internet to their television. Today, many viewers have high-speed connections which allow them to stream HD content directly to their TVs, tablets and computers.
Will a move to 4K make any major change to the technology? If so, how?
Benovici: It is yet to be seen. The Orad solution is already 4K enabled, so we are set for such a change. I do believe, however, that it will take some time until we start seeing 4K production coming up. Churruca: When 4K is
widespread at home, this will mean
the quality requirements of the programmes will be much higher than today. It also means the processing power of the hardware involved in production should increase as a consequence. Therefore, hardware solutions must cope with these new requirements, at the same time that more attention to detail, realism of the scenes, composition, graphics and background scenes will be required than is often the case today. Dalgoutte: 4K file sizes are
huge, so storing and processing them is a challenge at the moment in the UK, as is broadcast distribution. From our perspective the challenge lies in reporting where exactly the camera is pointing. With 4K you need to report that position in more granular detail because at that fine resolution it’s distracting to see the VR image jumping by even just a few pixels at a time. This means higher resolution tracking is essential. Lang: Going 4K will bring back the same problems that were present with introducing HD. On one hand, you will have
Ofir Benovici, Orad
an increase of overall image quality, but on the other the systems will have a decrease in power. This will result in having to step back in the amount of details and functionality of the sets. There will also have to be a step back in the number of sources — live, clips, streams, etc — contributing to the final composition. Pancake: The introduction of 4K camera and production capability will have some
Robert Pancake, Virtual Studio Set
impacts on our business in the near future. As UHD and 4K televisions become more available, viewers will seek more content created and delivered at higher resolutions. Once this happens, editors will need assets, motion graphics and animated virtual backgrounds created and developed for this higher resolution. The backgrounds and animations will need to hold up to the additional detail enabled by the increased
TVBEurope 37 ForumVirtual Sets
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