THE MODERN NEWSROOM
Sky News now provides graphic QR codes on air for most stories, allowing viewers to get extra in-depth analysis from specialist journalists online. It has also been a pioneer in the field of data-driven graphics; for elections, it recently began bringing live data and results directly into an app controlled by data editor Ed Conway.
Vizrt introduced ‘Adaptive Graphics’ with Viz Engine 5, which Ionut Pogacean, Senior Product Manager at Vizrt Group, says allows more efficient ‘Story Centric’ news workflows. “It makes it much easier for a
single scene to be designed and used to adapt to any number of output formats, facilitating the reusing of graphics beyond the traditional 16:9 broadcast aspect ratio,” he explains.
Mike Ward, Head of Marketing at Singular. live, says his firm’s web-based tool has been harnessed for live news graphics by several large publishers who are not traditional broadcasters, and is integrated by the likes of NXT Edition and Tinkerlist to provide services and solutions to clients in news. “Singular is also working directly with clients like Gray TV in the US, which owns 113 regional news channels and is in the process of migrating its graphics to Singular for a cost-effective, sustainable, and more flexible workflow,” says Ward. “Our Intelligent Overlays enable news clients to gain deeper engagement with their audience using interactivity with polls and voting for example.”
AUGMENTED NEWS
Broadcast products that use the advanced rendering of the Unreal game engine have transformed the appearance of newsroom sets, digital content, and data-driven graphics.
According to Grigory Mindlin, General Manager for Broadcast at disguise, seamless integration of real-time Unreal Engine graphics forms part of the “large strides” in newsroom workflows made in cloud-native control system Porta 2.1, which also features updated NRCS integration through the MOS protocol.
“Journalists can now control graphics intuitively using easy template creation tools and precise scheduling features to automate tasks and streamline production for both in-house and remote teams,” says Mindlin. “The disguise platform's ‘Avalanche ready’ status ensures a smooth transition to new aesthetics. Additionally, Porta 2.1 opens possibilities for augmented reality and virtual production, seamlessly integrating with disguise's xR solutions.”
“We have been using a VR set for the Daily climate show, as well as our daily screens using Unreal for the past two years. We then complement this with AR foreground elements as required,” says Ben Fisher. “The Great Debate show was a classic example of an AR/VR mix with a real set, used to great effect. Extra AR engines including spider cam and
technocrane were brought in to enhance the election coverage. Our Climate Data Dashboard takes live data from the national grid and puts it directly into a VR set, giving the viewer a real-time energy power mix”.
Vizrt’s Pogacean feels this is an area ripe for innovation: “In this space, we have the Object Tracker powered by Viz AI and with the latest iteration, we added Face Tracking and 2D Pose Tracking – and we're not stopping there.”
“A good graphics system in a newsroom remains invisible to the end user who can focus on the editorial task at hand,” says Boromy Ung, Senior Director, Product Management and Business Development, Graphics at Ross Video. “Journalists should be able to instantiate an AR template, populate it and drag it onto his or her story in a matter of minutes. If there’s a need to manually control these virtual graphics during the newscast, this should be done from a simple, slick user interface that should not require any graphics expertise. The simplicity of workflows will help people integrate more and more of these virtual technologies into their newscasts.”
Summer 2023
televisual.com 67
PRODUCTION
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