#IBC2022
67 OPINION
THE EVOLUTION OF GRAPHICS IS ADAPTIVE
Petter Ole Jakobsen, ounder and hief Innovation ffi cer, irt roup
Graphics matter. As television fragments and mobile screens become as important as living room sets, 69% of consumers now watch video without sound in public places. Graphic content needs to work harder than ever to convey the story as a result. And, with audience attention and advertising revenue now split across different platforms, getting those graphics right is more important than ever. Broadcasters, from linear to OTT, need to deliver graphics that work and are readable on any and all devices. Even more challenging, they need to do this while maintaining brand consistency across this new multiplicity of formats and without using additional in-house or outsourced resources. While graphics matter, so do budgets.
WHY ADAPTIVE GRAPHICS IS THE ANSWER
The solution is to take an Adaptive Storytelling approach, allowing user- generated rules-based automation to adapt content to target platforms without swallowing additional resources. Which is why with the launch of Viz Engine 5 we are introducing Adaptive Graphics; single workfl ow-multi-platform content delivery that automatically adjusts resolution and format to support specifi c display devices and effectively enable graphic artists to create once and publish multiple times.
Producing broadcast graphics can be likened to a factory production line. In the current broadcast environment, broadcasters typically fi nd themselves running several production lines in parallel. One serves linear, one serves social media, one is pointing at online, and so on; each is producing content but with variations to accommodate different target outputs. There are several problems with this scenario. First, it wastes resources; second, everything is multiplied, from equipment cost to carbon footprint; third, it encourages drift away from a consistent corporate identity.
“As television fragments and mobile screens become as important as living room sets, 69% of consumers now watch video without sound in public places”
With Adaptive Graphics everything is
produced from a single production line and the fi nal output is only locked in as the very last process. verything up to then is fl uid, editable and – crucially – consistent. By giving artists the tools to create
fl exible, adaptive content that automatically adusts to pre-defi ned output formats on the fl y, broadcasters can collapse multiple, parallel workfl ows into a single pipeline that automatically optimises the content for the delivery platform.
CURVED BACKDROP FOR SMOOTH VP Infi E
BY ADRIAN PENNINGTON
A curved XR and virtual production display is claimed as the fi rst on the market using panels allowing a smooth stepless curve. Traditional virtual production P uses fl at panels which are interconnected under an angle to
Adaptive Graphics in Viz Engine 5 means that graphics will render perfectly for every intended device – in the layout you choose and in the way that just works best.
SO, HOW DOES IT WORK?
In essence, we’ve added some new tools and capabilities to Viz Artist and Viz Engine that allow elements to be positioned relative in space; either relative to a given viewport, a given container volume or size, or to other objects. The same adaptability can also apply to their size or scaling factors. All this allows your graphic elements to effectively fl ow into the aspect ratio and screen size of the desired format. In many ways this is similar to the tools that web developers have had access to for years that allow them to create responsive websites accommodating a variety of target screen sizes.
Adaptive Graphics in Viz Engine 5 allows
broadcasters to run a single graphics production line rather than multiple ones in parallel. It enables users to genuinely create once and then publish many times, using an easy-to-use toolset that allows them complete control over how their graphics will look on everything from a mobile phone in stadium to a giant videowall. With Adaptive Graphics, consistency is guaranteed, fl exibility is innate and enhanced fan engagement is inevitable. 7.C01
create a curve. These inter-panel curves create edges which are noticeable on camera. Infi claims to have solved this problem with the fl agship of its I stand, a new solution shown in an impressive x.m display, that combines fl at Pro and curved II series panels with a pixel pitch of .mm. This improves viewer experience and shortens post-
production time, says Infi . The IBC presentation is powered by disguise and Ncam. In addition, Infi is showcasing
its fl agship indoor, fi ne pixel pitch WP series. With its standard 16:9 aspect ratio, high-refresh rate of , ultra-thin edge of only .mm and intuitive mounting system, the WP series offers the ideal solution for broadcast studios, claims the company. 7.C34
A seamless curved virtual studio solution is being launched
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