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A very warm welcome to issue two of Production360°, and we hope you enjoy it. Myself, Dean and David have worked incredibly hard to produce a fresher style of publication with the goal of making easy-toread, thoughtful and insightful content with compelling levels of interactivity, which is a challenge when many companies are still not 100% confident in supplying dynamic video — strange for a moving image industry!
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Publisher Chris Cope welcomes readers to the second issue of Production360, which focuses on virtual production (VP) and related technologies such as extended reality (XR).
Rise Awards announces its Woman of the Year, while there is business and technology news from Avid, Vizrt, CJP Broadcast Service Solutions, Panasonic, ROE Visual, Mediagenix and BirdDog.
14 From broadcast to YouTube: how VP and AI are shaking up video
The TV and film production industries are in the midst of a huge period of change. Chris Black, global head of brand and communications at Vizrt, sets the scene for our VP issue.
18 Virtual production: the next pieces of the puzzle
The rapid rise of virtual production over the past five years has been nothing short of phenomenal but now standardisation is needed, writes David Davies.
20 Alfalite’s Luis Garrido: ‘It’s a new era for AI production’
Luis Garrido, executive director of leading LED screen manufacturer Alfalite, discusses the transformational impact of virtual production and the need for standardisation as this area of technology matures.
26 MRMC’s Paddy Taylor: ‘Convergence between gaming and film is a natural progression’
Paddy Taylor — head of broadcast at Mark Roberts Motion Control (MRMC) — reflects on the development of VP workflows and his expectations for the next stage of the technology’s progress.
30 Canon’s Graham Payne: ‘The pandemic put VP in fast forward’
Graham Payne, product business developer ISB at Canon UK&I, reflects on the benefits of VP and outlines some of the Canon solutions that have been adopted in this area.
34 Disguise’s Milo Hancock: ‘We’re in the maturity phase of VP’
Shortly after it was announced that Disguise had received new funding with the MAX-R alliance, technical solutions specialist Milo Hancock discussed an area of technology where “evolution is constant”.
38 Pixotope’s Marcus Brodersen: ‘VP meets the demand for high-quality, immersive content’
Marcus Brodersen, CEO of virtual production software and solutions innovator Pixotope, discusses the role that VP is playing in the creation of “flexible, efficient and creative production solutions.”
42 Sony’s Sebastian Leske: ‘VP’s vast potential to transcend the boundaries of technology’
Sony Professional Europe’s business development manager, cinematography, Sebastian Leske, discusses some of the many new creative opportunities heralded by the rise of VP.
46 Remote hiring: common pitfalls (and how to avoid them)
In his second article for Production360, Ben Swanton — founder and CEO of 808 Talent — explores the challenges of remote hiring in global broadcast media and sports technology.
Rise, the awardwinning advocacy group for gender diversity in the media technology sector, is proud to announce the 2024 winner of the Woman of the Year Award, Megan Mauck. Megan is the Senior Vice President of Media Operations at NBCUniversal and will receive her award, sponsored by Zixi, during the Rise Awards 2024 ceremony, which was held Troxy, London in November.
Megan began her career as an Engineering Co-Op at Toyota, before joining General Electric’s Operational Management Leadership Program in 2006, where she launched her professional journey with NBCUniversal. Over the years, she has progressed through a series of increasingly senior operational and project management roles, ultimately advancing to her current position as a senior executive. Megan holds a degree in Mechanical Engineering from Purdue University and is based in Los Angeles, California.
In her current position, Megan leads NBCUniversal’s 24/7 Media Operations across Los Angeles, Denver, and New York.
Avid, the global provider of software solutions for professional media production, recently announced it has completed the acquisition of the cloud-based multiplatform news planning, production and publishing solutions, Wolftech Broadcast Solutions.
The acquisition enables Avid to combine its digital-first, end-to-end media solution with Wolftech’s expertise in storycentric workflow management. News organisations will be able to increase efficiency and accelerate story delivery through enhanced remote collaboration and multiplatform amplification.
when we talked to Avid, we knew it was the right match.”
The closing of the acquisition follows Avid’s announcement on October 7 that the company had entered into a definitive agreement to acquire Wolftech.
Avid CEO Wellford Dillard stated: “This is an exciting moment. Wolftech is unquestionably on the leading edge of where the industry is going, and this acquisition demonstrates Avid’s commitment to transform news, sports, and live production workflows. We are delighted to welcome Wolftech into the Avid family.”
Wolftech CEO Arne Berven added: “We were focused on finding a partner that could
With this acquisition, Avid deepens the integration between the two toolsets while continuing to embrace an open approach in partnering with a wide range of media production tools and newsroom systems.
Existing Wolftech customers will benefit from Avid’s global scale for customer support and professional services.
Ian Axton, Head of Production Operations for ITV News, said: “As a customer of both Avid and Wolftech we’re
Wolftech has transformed the way our journalists work and collaborate across our multiple newsrooms and platforms. We see deeper integration with Avid MediaCentral as the next logical step in bringing a single pane of glass newsroom solution to life and see this acquisition as a very positive way to accelerate that.”
Dillard added: “This acquisition strengthens Avid’s position in the news market and confirms our commitment to deliver best-in-class solutions that empower news organisations to thrive in today’s fast-paced digital landscape. Together, Avid and Wolftech will enable news production teams to accelerate storytelling — from pitch to publish.”
Vizrt, the leader in real-time graphics and live production solutions for content creators, has partnered with Champion Data to bring Katy Perry’s state of the art Australian Football League (AFL) Grand Final pre-show performance alive with virtual reality graphics.
A powerful product of the convergence of AR broadcast graphics and live entertainment, the collaboration enabled an elevated broadcast experience for fans tuning in at home and captivated global audiences on social media.
The event saw the AFL Grand Final attract a record-breaking audience of 4 million people tuning into the show via Seven Network. Fans watching from home were treated to a blend of high-action performances from Katy Perry and supporting artists that were interwoven with a range of dynamic, futuristic galaxy-like graphics.
“Despite the AFL Final being an elaborate, live show with multiple camera inputs and extensive graphics overlays, the Vizrt tools very much enabled us to ‘set and forget’ when it came to production programming. We had such confidence in delivering Katy Perry’s production knowing that Viz Virtual Studio and Viz Engine formed the technical backbone. We didn’t need to tweak too much — whether it be for her performance or our standard game day graphics — it all came together perfectly,” remarks Andrew Mott, Champion Data.
Utilising Viz Engine 5’s seamless 4K Unreal Engine graphics integration, Seven Network’s broadcast teams effortlessly blended augmented reality graphics into live broadcast streams, lifting premade graphics created by Katy Perry’s production team, Silent Partners Studio, in Unreal Engine.
The hybrid augmented reality production saw Champion Data push the boundaries of its existing AFL production infrastructure rather than rebuilding from the ground up. The production team utilized the same technical set up to generate both the usual Match Day graphics and the AR graphics for Katy Perry’s performance.
“Seeing the Champion Data team leverage its Vizrt set up to pull off a remarkable feat of creative graphics for Katy Perry’s show is testament to the skill, dedication and expertise of the Champion Data team. Spectacular venue-based graphics were once only reserved for select high-end projects using specialist equipment, but the Champion Data team have proved that
Vizrt ecosystems can be used to unlock the same incredible results, broadening access to showstopping graphics capabilities to everyone,” adds Andrew O’Neil, Head of Sports, Vizrt.
For Katy Perry’s performance, Champion Data leveraged Tracking Hub and Studio Manager from its existing Viz Virtual Studio installation, a staple of its typical Match Day graphics set up for Seven Network, to feed in data from three cameras — two of which supplied mechanical tracking data. All three cameras sent data to, and were calibrated in, Studio Manager, passing on outputs to three Viz Engines on the day which enabled rendering of Mushroom Graphics Unreal-based graphics onto the live feeds.
Spearheaded by Champion Data, the project brings together expertise from a range of technology and live production and event leaders including Vizrt, Mushroom Events, Silent Partners Studio, NEP Group Inc, Seven Network and Epic Games. www.vizrt.com
Basingstoke College of Technology (BCoT) made a half million pound investment in a purpose-built green screen virtual production studio, designed and integrated by CJP Broadcast Service Solutions. This new facility is tailored to meet the evolving needs of the media and entertainment industry, ensuring students gain practical experience with professional tools. The studio features high-resolution cameras integrated with advanced tracking systems for precise alignment between live footage and realtime virtual graphics. This setup supports final-pixel workflows, enabling students to produce complex virtual scenes akin to those in high-end
film and broadcast productions. The low-energy lighting rig, designed to work seamlessly with green screen technology, enhances sustainability without compromising output quality.
CJP’s comprehensive integration of advanced production tools helps bridge the skills gap between education and industry. By working with a range of technologies—including motion capture, real-time animation, and postproduction suites—students develop critical technical skills and gain exposure to industrystandard practices. This hands-on training builds confidence and proficiency, laying the foundation for a seamless transition into the professional world.
The new facility, launched for the 2024 academic year, demonstrates CJP’s expertise in creating practical media production spaces for education. This studio allows students to work with industrystandard tools and technologies, closing the gap between theoretical learning and real-world media production practices.
Panasonic’s KAIROS platform is utilised alongside 4K-capable PTZ and studio cameras, delivering an eSports degree that equips students with the required industry skills.
University of Staffordshire has created a state-of-the-art eSports broadcasting course with the support of Panasonic and its longterm partner, Digital Garage. This will enable the university to run eSports events, accommodate more students onto the course and position itself as a leader in academic eSports broadcasting.
University of Staffordshire was the first university to launch a dedicated eSports degree. It has enlisted Digital Garage to expand its professional broadcasting capabilities, as part of a £2.7 million eSports expansion programme at the university’s Stoke-on-Trent campus. As the primary contractor, Digital Garage will manage the entire design and build, equipping the space with professional broadcast studio equipment from Panasonic.
The new 61-seat arena in University of Staffordshire’s eSports Broadcasting
Hub will utilise Panasonic’s state-of-the-art live video production platform, KAIROS. Two AT-KC200 mainframes will be utilised, compatible with the SMPTE ST 2110 IP-based transmission standard that is revolutionising the transmission of video and audio signals over IP networks.
Ideal for remote and studio-based production environments, KAIROS virtualises traditional switcher functions and eliminates many legacy switcher hardware constraints. It features innovative CPU/GPU architecture and removes the one-to-one input restrictions of SDI-only switchers. This will enable much of the intermediary kit to be removed, providing a cutting-edge, cost-effective solution for eSports broadcasting.
The installation of Panasonic’s KAIROS platform and 4K-capable cameras provides students with a professional broadcast environment in a university setting. Their experience in operating Panasonic’s cutting-edge KAIROS platform and IP-based video production networks delivers the future skills they need to go into the workplace.
Richard Mortimer, Technical Services Manager at University of Staffordshire, commented: “We needed to deliver a course to recruit the next generation of sportscasting students, albeit within budget. Digital Garage gave us the confidence to step out of our comfort zone and invest in high-level Panasonic technology, to build industryleading facilities with commercial viability. We knew that adopting ST 2110 was absolutely the right decision, giving us a competitive advantage in eSports.”
University of Staffordshire’s studio is equipped with three AW-UE100 4K-capable PTZ cameras and three AK-HC3900 HDR studio cameras. The UE100 PTZ is the first 4K 50p/60p[1] PTZ camera to support high bandwidth NDI® and SRT IP transmission protocols. Its direct drive motor delivers smooth pan and tilt movements, with a wide-angle lens with a 74.1° field of view and 24x optical zoom offering installation flexibility, low noise, and high-resolution image
capture — making it ideal for remote and studiobased productions.
The HC3900 1080p HDR studio camera is equipped with a large 4K-CMOS sensor for high sensitivity and video quality, ideal for broadcasting, events, education, and corporate environments.
Future upgrades to native 4K 60p/50p will enable the HC3900 to deliver native 4K video with a horizontal resolution of 2,000 TV lines.
With Digital Garage managing every aspect of the project, including design, build and budgeting, it has complete autonomy over the selection of bestof-breed kit from Panasonic. It has also re-designed the installation and staging layout to maximise the form and functionality of the space.
Furthermore, Digital Garage and Panasonic have delivered ST 2110 and KAIROS-based training, to help University of Staffordshire’s IT and academic staff transition to an AVoIP-based production approach. This will enable them to manage the innovative technology and answer any installation or workflow queries — whilst supporting students effectively.
Mike Whelan, Managing Director of Digital Garage, added: “KAIROS live production platform was a no-brainer; the ultra-low latency of ST 2110 is ideal for eSports. Combined with Panasonic’s PTZ and studio cameras, University of Staffordshire’s eSports arena now has the ‘wow’ factor. They can now provide state-of-the-art technology to students, giving them the tools required to run and host eSports events.”
Click here to read the full case study.
ROE Visual and Take 2 Studios have partnered to host the region’s first-ever interactive and hands-on virtual production workshop. Split over two days, ‘Virtual Production Unlocked’ will bring together a panel of filmmaking experts from around the world to share knowledge and provide insight into the very latest content creation techniques.
Established in 2023 by sibling team Felix and Viktoria Brandstetter, Take 2 Studios has rapidly become the studio of choice for European ad agencies and production companies. The team provides a fully managed service and has filmed everything from car commercials to fashion ads and product photography.
Take 2 features a cutting-edge LED virtual studio equipped with Hollywood-grade technology, which enables clients to shoot in any virtual environment imaginable, where they can hold golden hour all day and work uninterrupted by the weather and other distractions of traditional content creation.
Speaking ahead of the event, founder Felix Brandstetter said: “This workshop is ideal for content creators who want to integrate virtual production into their projects and leverage the technology to create compelling, visually stunning narratives. Whether you’re looking for an introduction to VP, would like to sharpen your technical skills, or expand your professional
network, this event will offer invaluable insights into the future of filmmaking.”
Apart from a full day of hands-on experience, participants will gain first-hand tips and tricks from seasoned and industry-leading specialists, including Steve Giralt from The Garage, renowned for his commercial work, Nils Pauwels, an audiovisual expert and Co-Founder of IIM, and Mazze Aderhold, Chief Workflow Engineer at Assimilate Inc., with over 15 years of postproduction experience.
Virtual Production Unlocked is open to professionals in the film industry, creative agencies, and businesses who need to shoot content regularly, regardless of their previous VP experience. Traditional film staff, like writers, producers, set runners, DoPs, the art department, Gaffer & Grip, marketing directors, and brand owners, will gain valuable insight into the limitless possibilities of virtual production.
Mediagenix, a leading provider of smart content solutions, has published this year’s M-Connect Survey results. The report provides an in-depth analysis of the media industry’s current state of maturity in three critical areas: data-driven decisionmaking, automation, and system connectivity. The report is based on responses gathered during the May 2024 M-Connect event and assesses participants’ maturity levels in digital transformation, revealing that many companies are lagging behind industry best practices. It highlighted that 55% of media organisations are still in the early stages of effectively integrating these strategies. The survey findings emphasised the need for media organisations to adopt a more structured approach to leveraging data, automating tasks, and connecting systems.
In relation to data-driven decision-making, 49% of respondents are either sporadic or ad-hoc in their use of data-driven strategies. The report found that leveraging data enabled media companies to make more informed and quicker decisions on content acquisition, scheduling, and monetisation. The average score was 2.6 out of 5, indicating limited integration of data into current processes.
Whilst there has been significant interest from media industry stakeholders in AI and automation for content workflows, many have not leveraged this technology effectively. A significant 67% of organisations lack structured approaches to automation, scoring an average of 2.3 out of 5. Only 33% had developed a deliberate strategy to
By capitalising on datadriven decision-making, automating our processes, and connecting our systems, MBC is future-proofing its workflows
content decisions, and reduce manual tasks, media companies need to facilitate real-time data flow across their organisations. However, 48% of respondents reported limited system connectivity, which prevented streamlined workflows and real-time data sharing. With an average score of 2.6, many organisations still struggle to achieve full integration across their systems, despite the availability of advanced cloud-based solutions.
Gunel Mammadova, Director, Corporate Planning and Management at MBC Group states, “The industry needs to step up its use of smart workflows to remain competitive. At MBC Group we understand that achieving high maturity in these areas means we are better positioned to navigate challenges, make the most of new opportunities, and deliver content more efficiently. By capitalising on data-driven decision-making, automating our processes, and connecting our systems, MBC is future-proofing its workflows.”
automate core processes, highlighting a major opportunity for improving efficiency and reducing operational errors.
In order to enable faster and more accurate
Ivan Verbesselt, Chief Chief Strategy & Marketing Officer, Mediagenix added, “Mediagenix is committed to supporting companies on their journey to becoming more smart, streamlined, and connected. Our collaboration with industry leaders has revealed that the path forward requires investing in tools and strategies that enhance visibility, reduce redundancies, and enable more agile decision-making. These are the key drivers of our solutions orchestrating the content life cycle as a lean set of collaborative workflows around one source of truth.”
The 2024 Australian Good Design Awards were unveiled recently, showcasing the pinnacle of design excellence in a grand ceremony at the International Convention Centre (ICC) Sydney, attended by over 1000 distinguished guests from design, architecture, engineering and business sectors.
This year’s theme, ‘The Design Effect’, underscored the crucial role design plays in shaping better products, services, spaces, and experiences while driving the transition to a more sustainable, less carbon-intensive future.
The Australian Good Design Awards highlighted how design not only enhances functionality and aesthetics but also contributes significantly to business success and societal advancement.
Among the standout winners was BirdDog X1 Ultra — Unified Communications and Broadcast Robotic Camera, which received a prestigious Good Design Award Winner Accolade in the Product Design category for exceptional design and innovation.
The Jury praised BirdDog X1 Ultra — Unified Communications and Broadcast Robotic Camera commenting: “The X1 Ultra robotic PTZ camera delivers broadcast-quality performance in a compact form factor, ideal for AV meeting rooms and live productions. The Jury admired the clean design and clever use of the light ring for intuitive user interaction. This camera stands out
for its combination of compactness and highquality functionality, making it a valuable tool for enhancing visual presentations.”
Rachel Wye, Managing Director of Good Design Australia, remarked, “This year’s Awards reflect the profound ripple effects that exceptional design can have on people, place and planet. The
projects honoured in these Awards exemplify how thoughtful design can drive meaningful change, not only enhancing user experiences and the way people interact with the world, but also contributing to a more sustainable and more prosperous future. The Australian Good Design Awards are proud to recognise the truly inspirational work that is being done across different design disciplines, sectors and industries in Australia and overseas.”
The 2024 Awards highlighted excellence across 12 Design Disciplines, covering more than 32 Categories, and it recognises a diverse range of projects from Australia and abroad, encompassing architectural design, engineering, digital and communication design, and emerging fields such as design strategy, social impact and policy design — a new standalone category introduced in 2024.
We are in the midst of a huge period of change as several pioneering new technologies reshape the way that content is produced and consumed, writes Chris Black, global head of brand and communications at Vizrt.
As media continues to evolve, it’s clear that the tools we use to tell stories must also change. Virtual production and extended reality (XR) are leading this transformation, offering broadcasters and content creators new ways to engage their audiences. These technologies, along with AI and automation, are reshaping how we produce and consume content, creating immersive experiences that help audiences connect with stories on a deeper level. More importantly, they are no longer reserved for major networks as smaller broadcasters and independent creators can now leverage these powerful tools as well.
Virtual production offers a level of creative freedom that transforms how we present complex stories. For example, when covering data-heavy events like elections or significant natural
disasters, traditional footage often doesn’t do justice to the complexity of the situation. By integrating virtual sets or augmented reality (AR), we can provide more detailed visualisations that help audiences understand these events better.
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Extended reality (XR), which is often a mix of video walls and augmented/virtual reality, has become a critical tool for broadcasters who want to engage audiences in innovative ways. By merging the real world with virtual elements, XR allows presenters to interact directly with data, creating a more immersive and dynamic experience. Whether it’s election coverage or explaining scientific phenomena, XR gives broadcasters the ability to present information in a way that feels more personal and interactive.
For example, during India’s 2024 elections, broadcasters used Viz Engine 5 to deliver striking live graphics and AR-led virtual studios, bringing viewers closer to the world’s largest democratic election. Similarly, RTVE’s immersive XR approach for the European elections allowed them to virtually place presenters in iconic locations like the European Parliament, making the elections coverage far more engaging for their audience.
Extended reality (XR), which is often a mix of video walls and augmented/virtual reality, has become a critical tool for broadcasters who want to engage audiences in innovative ways
Virtual production makes it possible to not just broadcast results, but to enhance the entire experience, providing viewers with in-depth insights, as seen in the immersive, AR-powered Downing Street experience created by Sky News. The most exciting part? These tools are no longer exclusive to large broadcasters.
Solutions like Viz Virtual Studio Go make virtual production affordable and accessible for smaller broadcasters and independent creators. Now, with a single system, anyone can create professional-quality virtual sets and AR environments, levelling the playing field for all content creators.
One of the biggest shifts we’ve seen in recent years is the democratisation of production tools. No longer are high-end graphics engines and virtual sets limited to the major players. Tools like HTML5 graphics and cloud-based services have made it easier than ever for smaller content creators to produce polished, professional content without needing an enormous budget.
For content creators running YouTube channels or small-scale broadcasts, tools like HTML5 graphics provide an accessible way to enhance storytelling. These cloud-based solutions offer
powerful capabilities at a fraction of the cost, allowing anyone to integrate live data into their broadcasts. For instance, broadcaster TBC in South Korea successfully used Viz Flowics to manage real-time election data, creating engaging visuals without advanced coding skills or external graphic design support, all while saving costs.
While virtual production and XR have already changed the way we tell stories, the next big wave of transformation is coming through AI and automation. These technologies are simplifying complex production processes, making it easier for individuals and smaller teams to produce highquality live broadcasts and virtual environments.
Generative AI is already being used to create virtual backdrops, allowing creators to quickly generate environments that match their narratives. Automation is taking over the more repetitive tasks, freeing up time for content creators to focus on storytelling rather than technical details. Soon, we’ll see more AI tools seamlessly integrating into live production workflows, enhancing both the speed and quality of content creation.
However, while AI and automation are incredibly powerful, they still require a creative touch. You still need that artistic eye to bring everything together, ensuring that the tools enhance your story rather than overshadow it. AI can assist, but the vision must always come from the storyteller.
One of the challenges we face as we embrace virtual production and XR is maintaining trust with our audiences. In a world where misinformation can spread rapidly, ensuring the authenticity of virtual content is crucial. Audiences trust the brands they follow, and part of that trust comes from knowing the stories are accurate and credible.
This is where technology can help. Tools like C2PA ensure that the images and footage used in virtual productions are authentic, allowing broadcasters to verify the source and integrity of the content they’re presenting and giving audiences at home the verification that the content they are seeing is real and correctly attributed to the story. As we continue to rely on virtual elements to tell stories, being transparent about how we create and verify those stories will be essential to maintaining that trust.
Virtual production and XR are not just trends; they are the future of storytelling. These technologies offer endless possibilities for broadcasters and content creators to push the boundaries of traditional media. As these tools become more accessible, we will continue to see new and innovative uses that engage audiences in ways we haven’t yet imagined.
With AI, automation and affordable virtual tools driving this next wave of innovation, the future of storytelling is more dynamic, immersive, and inclusive than ever before.
SMPTE’s RIS-OSVP initiative team (L to R): Valentin P. Alt, AC/DIT; Danna Kinsky, camera assistant; Snehal Patel, director/ producer at FearlessProductions.tv and committee leader for the Camera and Lens Metadata Committee; Dave Stump, ASC BVK; Rob Hummel, photographer; Phil Holland, cinematographer/image scientist; and Joe di Gennaro, stage.
The rapid rise of virtual production over the past five years has been nothing short of phenomenal. But as the technology continues to grow and mature, there will need to be more standardisation and consolidation, writes David Davies.
As recently as 12 months ago, it was possible to argue that the dramatic emergence of virtual production (VP) — the technology area that allows content producers to interactively visualise and create scenes in a studio environment — was without precedent in recent memory. Of course, that was just before it became truly apparent how transformative AI was going to be — on both our working and non-working lives, and in both positive and negative ways.
Nonetheless, the trajectory of VP has been — and continues to be — phenomenal. According to recent data from Grand View Research, the global VP market size was estimated at US$ 2.11 billion in 2023 and is on track to grow at a compound annual growth rate (CAGR) of 18.6% from 2024 to 2030. Moreover, this will be played out against an increasingly global background of adoption; the US remains the largest market, but Europe is growing fast and now Asia-Pacific is forecast to have the highest CAGR for the next six years.
Simultaneously, the pace of innovation is — if anything — continuing to accelerate in both hardware and software development. LED video wall screens — employed for real-time background visuals during internal shoots — as well as integrated virtual camera systems and motion capture workstations are among the types of hardware where the rate of new launches remains frenetic. And as with so many other prior tech trends in broadcast and media, increased competition and a greater attention to the full span of productions and budgets (ie. not just the top-tier movie projects that initially championed the technology) is rendering VP increasingly accessible to all content creators.
This is a development highlighted and welcomed by many of the vendors interviewed in this edition of Productionº360.
The outlook in software is arguably even more tantalising. As several of our interviewees indicate, the initial dominance of software platforms drawn from the gaming industry is unlikely to be open-ended. New players are coming into the space with what we might label ‘VP-first’ solutions that could prove to be more customisable to the requirements of film and TV production. With Artificial Intelligence (AI) and Machine Learning (ML) bound to have an increasing impact on software capabilities, the next few years of VP software development are set to be extremely exciting.
But for all of the huge potential afforded by VP, there are also some attendant challenges that will have to be addressed with some urgency if the technology is to continue maturing successfully.
On one hand, the advent of new players in the market is brilliant news for overall levels of innovation and availability of creative options. On the other, there is a distinct danger that — in an area of the market that is still incredibly young in relative terms — the amount of choice becomes so great that content producers simply don’t know which way to turn. This could become especially apparent if, as anticipated by some observers, the underlying software becomes more niche and oriented towards specific types of production. In this case, it could well be that the inherent tides of the marketplace provide something of a resolution. A phase of consolidation tends to
occur after a few years in any significant new area of technology, and judging by some sources it seems this could already be underway in VP. As Grand View Research notes, “the level of M&A [mergers and acquisitions] activities in the market is rising significantly.” Meanwhile, the close relationships between technology giants and creative studios is enhancing “the advancements in [VP], subsequently fuelling increased consolidation of the market.”
Greater diversity of technology is also tied to another growing challenge: the need for technical standardisation. We do not have to reach too far into M&E’s past to locate examples of tech movements that have been held up by interoperability issues. The impact of ST 2110 on the adoption of IP-based workflows has been so positive that it can be easy to forget the difficult — and highly unpredictable — years that preceded it. In a market that had sometimes seemed intractably diffuse, the guaranteed level of interoperability provided by standardisation has brought significant cohesion to the market, and ensured that IP now stands poised to reach its full potential worldwide.
Now we need to see the same kind of trajectory occur in VP. The newness and complexity of the market mean this will be far from easy, but without greater interoperability it’s possible that VP could eventually hit a ceiling in some areas of production, especially at the middle and lower tiers.
Here, too, there is some cause for optimism as a number of standardisation programmes are underway. One notable example is the SMPTE Rapid Industry Solutions, On-Set Virtual
Production (RIS-OSVP) initiative, which was established in 2021 to devise interoperability specifications, workflows and best practices for the industry, along with supporting educational courses and webcasts. Underlining the widespread observation (including in this issue) that standardisation of camera and lens metadata is a top priority, the initiative recently undertook a camera and lens measurement study to test and validate the optical model for accurately determining the circle of confusion and the near and far focus planes.
There are other challenges to be attended to — although in several of these, VP can also be a real agent of change. Environmental impact is one such area; at the moment, data about VP’s carbon output is relatively scarce, beyond the obvious parameter of its ability to significantly reduce the amount of travel associated with location filming. However, the newness of the technology means there is huge potential to put in place rigorous and universal carbon reporting from an early stage — ensuring that not only is its specific impact comprehensively understood, but that its lessons can be implemented elsewhere.
Ultimately, these are not insurmountable challenges and with more collaboration and collective action — which does now seem to be emerging — there is reason to hope many of them will be partially resolved in the next few years. They also shouldn’t be allowed to overshadow a phenomenal story of technological progress whose presence is felt in all of the Q&As that make up the remainder of this issue.
‘It’s
The executive director of leading LED screen manufacturer Alfalite, Luis Garrido, discusses the transformational impact of virtual production and the need for standardisation as this area of technology matures.
Now, backgrounds are captured directly on camera with impressive realism…
Have you been surprised by the phenomenal rise of virtual production over the past few years?
Yes — the growth of virtual production has been surprising and has exceeded industry expectations. In just a few years, this technology has transformed how audiovisual content is created and produced. Advanced LED screen solutions, like those from Alfalite, have been instrumental in facilitating this change, enabling the creation of dynamic 3D backgrounds and immersive sets that enhance the experience for the production team, actors and viewers alike. The increase in quality and resolution — with options ranging from 4K to 16K — has allowed directors and producers to recreate environments that were previously only possible with complex special effects and post-production. Now, backgrounds are captured directly on camera with impressive realism, greatly reducing the need for additional post-production work. This speed in workflows, along with the cost savings associated with location scouting and team travel, has made virtual production an attractive option for film, series, advertising and live productions. The ability to synchronise between the LED screen, camera and set elements has opened new doors to creativity, allowing filmmakers to experiment with
Alfalite has been at the forefront of implementing LED screens for virtual production…
perspectives and camera movements that were previously difficult to achieve.
Additionally, advances in interactive lighting and colour control have allowed cinematographers and creatives to maintain precise artistic control over each scene, utilising LED screens as an additional light source. This phenomenon undoubtedly marks a new era for audiovisual production, and at the pace it’s evolving it’s likely to become the standard in content creation in the coming years.
From Alfalite’s standpoint, what are the aspects of virtual production that excite you most — both in terms of the creative and commercial opportunities?
Alfalite focuses on leveraging virtual production to create realistic and immersive 360° spaces, which not only reduces costs but also increases creative freedom. Advances in synchronisation between the camera, set and LED screen provide a more immersive environment for actors and allow directors to maintain full control over the scene’s aesthetics. This represents a major opportunity in the film, advertising and live production markets, which can reduce time and optimise resources with these solutions.
Please tell us a little bit about the history of Alfalite’s involvement with virtual production. Alfalite has been at the forefront of implementing LED screens for virtual production, developing its VP XR system, which integrates augmented, virtual and mixed reality technologies. This system has positioned itself as an innovative solution for creating real-time virtual environments, allowing production teams to leverage the advantages of dynamic 3D sets and perspectives adjusted to camera depth.
What are your key solutions with relevance to virtual production as of 2024, and what are you currently working on in this area?
Alfalite’s key solutions for 2024 include the Modularpix VP XR LED screen series, offering high protection, easy maintenance and customisable options. These screens feature advanced characteristics like ultra-low latency, HDR10, a refresh rate of up to 9,840 Hz, and pixel-bypixel calibration for uniform brightness and colour accuracy.
Currently, Alfalite is working on major projects like the Coruña Immersive Studio (CEI), an initiative led by the Diputación de A Coruña with an investment of €2,534,538, where its screens will be the centrepiece of the largest audiovisual set in Spain. At the CEI, Alfalite will integrate its VP XR solution, which includes a semi-circular Alfalite Modularpix Pro 1.9 1/16s screen that is 28 metres long by 6 metres high for the wall, three high-brightness Alfalite Modularpix Pro 3.9 modules for the ceiling (totalling over 100 square meters), and two Alfalite Modularpix Pro 2.6 1/12s totems measuring 2.5x4.0 m. These screens will allow the creation of immersive and dynamic backgrounds with depth and perspective, capable of recreating
It would be beneficial for virtual production to move toward greater standardisation, particularly in areas like camera
any real or virtual scene with absolute realism and exceptional immersive capability.
This project, developed alongside Tangram Solutions and Telefónica Audiovisual Services, will enable film and television producers to create highly detailed virtual environments,
offering viewers a completely immersive experience. Through this collaboration, Alfalite further consolidates its position in the virtual production market for film, advertising and video games, establishing itself as a leader in cutting-edge solutions.
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How would you like to see virtual production evolve in the next few years? For example, do you think that more standardisation is needed (as we are starting to see happen with camera metadata) and do you have any views on how this should be implemented? It would be beneficial for virtual production to move toward greater standardisation, particularly in areas like camera metadata synchronisation, which would facilitate integration with different technologies and reduce compatibility issues. Standardisation in terms of colour control and latency could also help improve visual consistency in productions involving multiple studios and camera systems, creating a more homogeneous experience for audiences and simplifying workflows.
Are there any common misunderstandings or misconceptions about virtual production that you think need to be clarified?
One of the most common misconceptions is that virtual production is always costly and complex to implement. With Alfalite’s technologies, it has been proven to be an efficient and flexible option,
adaptable to different budgets and production needs. Additionally, some people don’t fully understand the advantages of synchronisation and the customisation capabilities that modern LED screens offer, which allow for total aesthetic control and reduce the need for intensive post-production.
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‘Convergence between gaming and film is a natural progression’
The head of broadcast at Mark Roberts Motion Control, Paddy Taylor, reflects on the development of VP workflows, the company’s recent projects in film and broadcast, and his expectations for the next stage of this technology’s development.
Have you been surprised by the phenomenal rise of virtual production over the past few years?
I think it was fairly obvious that it was going to be a kind of watershed moment in the way that content is produced. [From an early stage] it was clear that there were going to be so many obvious advantages in terms of just how photorealistic activity can be with regard to lighting the situation, through to cost benefits and the ability to manage the environment you’re shooting in that when it came together it was always going to be a significant shift in the industry.
[Contributing to this awareness] was the fact that, both in my personal background and with MRMC, there had been a lot of involvement with customers doing projection-mapping and other virtual production workflows for some time before this new explosion came about. Then, when [VP] really started to make an impact, The Mandalorian was the first project of this kind
…when [VP] really started to make an impact, The Mandalorian was the first project of this kind which used MRMC robotics, and it attracted a huge amount of attention worldwide
which used MRMC robotics, and it attracted a huge amount of attention worldwide. The workflows behind VP were in development for years before they were utilised, so it isn’t a surprise that it has become as big as it has. The growth has slowed a bit recently, but it will
become bigger as the [overall market] develops. From our perspective, a lot of major developments have happened outside companies like MRMC, but I think we have had an important role as an enabler and a provider of solutions to help ease the transition.
From your standpoint, what are the aspects of virtual production that excite you most — both in terms of the creative and commercial opportunities?
Lighting is a great example here — being able to shoot content in various locations and times. It allows you to create the scenes you need without having to build up a whole set with all
its associated costs. So for example, you can limit the amount of production teams and talent that is needed in a physical location by using content you have created. You can even do re-shoots with content that was taken on site and then re-shoot in a hybrid environment. Of course, this comes with a huge environmental bonus as well.
I still think the magic of [shooting physically
on location] is something that we shouldn’t lose, but VP does give you the chance from an artistic standpoint to try something again and again without having to reset everything. It also creates a real opportunity for those lowerbudget projects to expand [their scope] and utilise multiple locations without having to move production elsewhere.
Please tell us a little bit about the history of your company’s involvement with virtual production.
Going back a few years, The Mandalorian was the first project to use MRMC robotics. We also do a lot of motion control-based visualisation and effects, which includes productions like House of Dragons, where the dragons were all virtually controlled. There have also been a number of major sports broadcast-related projects recently. One was a mixed reality application using our studio bots at the Olympics, which involved the real-world Paris skyline with the Eiffel Tower in the backdrop and a VR/hybrid reality environment where Studio B was shooting to that space through a green screen and creating graphics with our [broadcast partner].
The Catalyst Stage for ESPN is another good example. This is primarily a studio environment for the coverage of live sports, but at other times it will be used for different sorts of production, such as the filming of promos.
It’s worth noting that we have several aspects to our company structure that help us work across these different sectors, including a volumetric division, a film and commercial division — which includes all of the really exciting, high-speed
robotics used in shows like The Mandalorian — and the broadcast division, which is the department I look after. We have plenty of places where people can try out their systems, while the different parts of the business all flow into and provide advancements to each other.
What are you currently working on in terms of virtual production projects and/ or new solutions?
We’ve just had a sports broadcaster purchase a solution at IBC, so it will be exciting to see that in use. I think readers would also be amazed to know how many of the Christmas adverts that they’ll come to love over the next few weeks and months have been shot on our systems. Some of them are animated, some are done in VP, some are chroma key, some are love action, and some are a hybrid. But yes, our team has been working on a significant number of seasonal adverts lately!
How are you viewing the development of related technologies, such as those grouped under the Mixed Reality banner, and what are your predictions for their growth in media applications over the next few years?
We are already seeing some examples of this — AI, VR headsets in games, phones being used during live sports games, etc. AI is already being used very often, but there is still a lot of growth [potential] here. It’s also the case that to make something look good and work well, it requires a lot of skill — and that takes time.
Festivals and theme parks could start to see more of these technologies being integrated over the next few years, while experience centres — eg.
for live sports and music concerts — can help bring greater accessibility and take away a huge environmental impact [associated with travel].
[More generally] I would say that the convergence between gaming and film is a natural progression. I can see the line between the two being blurred very quickly in the transition from a film to an interactive game.
How would you like to see virtual production evolve in the next few years? For example, do you think that more standardisation is needed (as we are starting to see happen with camera
metadata) and do you have any views on how this should be implemented?
Standardisation is needed and is already starting to happen.
Virtual production is an ideal experience for live events, but this isn’t where [the technology is really] happening right now. [It’s more about focusing on] people watching from home, rather than the person in the stadium.
The really exciting next stage will probably be achieving the perfect hybrid of being able to do something live for an audience locally, as well as for live audiences at home.
Product Business Developer ISB, Canon UK&I, Graham Payne, reflects on the key benefits of virtual production and some of the specific solutions — like the Canon EOS C500 Mark II camera — that have been widely adopted for VP.
Have you been surprised by the phenomenal rise of virtual production over the past few years? VP technology is amazing. I am not surprised that it has been so widely adopted. I do feel, however, that the pandemic put the technology in fast forward and really brought the key benefits of it to light. Having the ability to shoot in a controlled environment significantly improves turnaround time and decreases the requirement to have huge crews.
From Canon’s standpoint, what are the aspects of virtual production that excite you most — both in terms of the creative and commercial opportunities?
From Canon’s standpoint, the rapidly increasing need for new technology is partly being driven by the rise of VP; better processors and improved lens technology are essential. Canon is, of course, at the forefront of new sensor, lens and processing technology, which is reflected in our latest camera and lens releases.
Please tell us a little bit about the history of Canon’s involvement with virtual production. Virtual production is something Canon has no doubt had an eye on. The growth of it, however, has really boomed during the mid-life cycle of our key products, [although] this has not stopped us from adapting and evolving our products through numerous free-of-charge firmware updates to meet the market demands. Key products like the EOS C500 Mark II have been really widely-adopted and respected as a key camera by multiple VP production houses, as well as our incredible Flex Zoom cinema lenses.
…the ability to shoot in a controlled environment significantly increases turnaround time…
What are your leading solutions with relevance to virtual production as of 2024, and what are you currently working on in this area?
Within 2024 Canon has released two new Cinema cameras that have a virtual production protocol built into the camera. The EOS C400 and EOS C80 have this protocol that can speak directly to the
Unreal Engine, giving key information like lens data in real-time. This allows users to switch lenses using them live without the need for lens mapping every single new lens — saving even more vital time for production crews. This [capability], plus the fantastic 6K Full frame back illuminated stacked sensor, makes them ideal for a VP workflow.
How would you like to see virtual production evolve in the next few years? For example, do you think that more standardisation is needed (as we are starting to see happen with camera metadata) and do you have any views on how this should be implemented?
VP is constantly evolving. From its beginnings to now, there have been huge strides taken in the field. The main factor I see is the cost of a full system. To
achieve VP in the past you would have needed a huge budget to get it in place. The technology should be accessible to more people, and this is gradually happening as its popularity and ease of use increases. Our new cameras are priced and aimed at owner operators as well as rental, [meaning] these cameras are not out of reach for independent selffunded productions, so hopefully the rest of the tech will also be within the reach of the masses.
Education is getting behind [VP in order to teach] the next generation of creatives
Are there any common misunderstandings or misconceptions about virtual production that you think need to be clarified?
The main misconceptions or misunderstandings are mainly around costs and ease of use. As mentioned, in the past a VP set up was out of reach to most budgets and you needed a Hollywood set-up. However, we have seen in the last couple of years that more and more crews and productions have found ways around that and the tech has evolved massively. People see the benefits of VP and will find ways to make it work. [Hennce] we see small production houses, corporate companies, and universities all now investing in VP set-ups.
It is a technology that is still in its infancy, so the ease of use is also improving massively. Education is getting behind [VP in order to teach] the next generation of creatives.
The last point to make is about getting used to it. [Among some people] there is still a view that it’s not real so it doesn’t look as good, which is a concern to more traditional creatives. However, as I have said, this tech is still evolving; it is not here to replace reality, but to enhance it, working side-by-side with traditional production.
in
VP’
Shortly after it was announced that immersive experience company Disguise had received new funding as part of the MAX-R alliance of tech businesses, technical solutions specialist Milo Hancock shared his thoughts on an area of technology where “evolution is constant”.
… what I’m loving right now in the industry is it’s kind of maturing
Have you been surprised by the phenomenal rise of virtual production over the past few years?
Absolutely — it’s been great to see. And what I’m loving right now in the industry is it’s kind of maturing. So we saw a massive rise in studios. People getting into it, people learning about it. Large studios have started to use Disguise and virtual production. But I think the really important thing now is that we’re in the maturity phase of virtual production. And when I say virtual I mean using LED technology from a Disguise point of view. We had two Disguise-led volumes in 2020 and now there are 450 globally using Disguise power in their studios. So there is a huge, really exciting uptake.
From your standpoint, what are the aspects of virtual production that excite you most — both in terms of the creative and commercial opportunities?
From the creative side of things, what I’m really enjoying now is collaboration. So there’s a lot of technology going into a virtual production studio, and it is important to be able to work with other departments on a film shoot. We are starting to ask questions such as: Who should be controlling
the bright panels? Who should be controlling the lighting in your virtual environments? And it’s not always the operator of the LED volume that should be doing it. It should be the professionals in the room; the experts. There are 60-plus people in these productions. So we should keep the experts in control of the things they need to be in control of. So I’m excited when I’m using Disguise for these kinds of workloads; it really simplifies how we connect things, such as through the API with remote controls.
From a commercial standpoint, I am enjoying educating younger generations — they are up and coming. We’ve been working with a lot of universities to get LED volumes, and to increase the general knowledge of people in education [about] the skill-set that they need to go to use virtual production out in the world. We’re going to see that grow in the next few years, when we get this new generation actually on set doing these productions, and we’re going to get a lot more technology — obviously, even more mature technology. The more people that know about this tech, the more we’re going to use it better and we’re going to see some really incredible productions coming out of it. So that is exciting.
Please tell us a little bit about the history of your company’s involvement with virtual production.
Disguise has had a long history of putting on incredible productions in the live industry. What we saw in about 2017 was the integration of camera tracking systems in the live industry, so that being the augmented reality elements. It’s not necessarily directly attached to virtual
production, but what that grew into was linking camera tracking to the LED screens or projection workflows that we already had.
[Subsequently] it was a very natural progression to grow into using camera calibrations and then linking camera tracking systems with LED screens or projection services to put virtual environments on — whether that be plates or the environments. It’s quite a natural progression with it, and since then — when we’ve been kind of a fundamental part of so many budget production studios around the world — we’ve learned and grown along that journey. I can confidently say we have one or more of the most fleshed-out tool sets; pretty much the
best tech stack to deliver productions. So the virtual production platform, as it stands, is a mixture of software and hardware solutions.
The software side of things is always innovating, and always updating. We try to do a major release every quarter with new features, which is fun. We’re focused on getting the tools that creatives need so they’re not struggling through certain processes. An example of that is the 2.5D layer. When it comes to the hardware, all of it is ruggedised. It has been built to the utmost quality so you can rely on it when moving it from studio to studio, or just knowing it’s going to work 24/7, day in, day out.
Should you also need it, we have a whole workflow for understudies and back-up machines. So in your pivotal moments, your LED is never going to go black. You always have a backup which will automatically take over. [Therefore] you can rely on the fact that when you’re on set, if something goes wrong, people are not going to notice.
What are you currently working on in terms of virtual production projects and/ or new solutions?
As with many things in the film industry, I can’t talk about the projects I’m currently working on or have worked on in the past year, but what we have seen is that large production companies are
confident in the technology. They are using the technology, and they’re using it incredibly well. We’re going to see the results of all of this in the next period of six months to two years. We will start seeing this professional virtual production output, which I think a lot of people sometimes don’t see because it’s hidden.
The film industry is very closed and very secret, but one of the actual products and solutions we’ve been working on internally at Disguise which are probably the most exciting few right now is OCIO. That’s a colour pipeline, but it’s an open source version. It gives the creatives and the colour specialists the tools they need to confirm the pipeline.
Another useful thing is our ProRes support. Traditionally, you’d have to use a large, uncompressed format, but ProRes is again giving a bit more flexibility to productions to be able to quickly iterate and use formats that traditionally used another big tool that’s been out for a few months. This is a 2.5D layer inside Disguise. And this is not just using the content in a 3D space, as people would expect with that name, it actually gives you the ability to use 3D objects in a 3D space without needing a real-time engine. Some examples of that would be using photogrammetry imagery to create a 3D environment that you can use in Disguise, or using depth maps to give yourself depth and perspective to the images. And our last point, now that we’ve mentioned depth maps, is that there are some workflows where you can use depth maps to give depth of field to the content, which has previously been a challenge as you have a 2D image. How do you give yourself depth of field from your camera’s focus… there are now workflows to do that really well.
How are you viewing the development of related technologies, such as those grouped under the Mixed Reality banner, and what are your predictions for their growth in media applications over the next few years?
Virtual production has been a pivotal talking point in technology for a lot of people in the industry. But a lot of the tech stack we have at Disguise has also been focused on extended reality, which also relies on mixed reality, and so all of these tools help each other. So we’re seeing across the board many different verticals and industries that are using the same tools for things like immersive experiences.
Let’s say you’re in a store. There’s a large LED screen — that’s the product placement. Maybe they want to turn that into an interactive experience where someone walks in and has customised information on it, or it shows them some environment that is linking with what they’re actually doing in the store. Same goes with corporates. There’s a lot of large companies using LED volumes to do their corporate presentations or their monthly quarterly reviews and things like that as another way to keep the audience and the end-user engaged in the content — while also giving them the ability to show more [relevant] information as opposed to something like a slide deck.
How would you like to see virtual production evolve in the next few years?
So for virtual production, evolution is constant. It never stops. It’s very exciting. But what I’m hopeful for the future is there’ll be more IP video in studios.
Using ST 2110 is just going to make things easier for larger resolutions and higher frame rates. [I think we will also see more growth in] different tracking systems.
So we have the primary tracking systems of the majority, but there are all sorts of smaller tracking system companies and tools that are much more affordable, and I’m very intrigued to see how that’s going to assist mid- to low-tier productions.
…what I’m hopeful for the future is there’ll be more IP video in studios
They don’t necessarily need a super-expensive tracking system. They just need something to get along and this also goes hand-in-hand with people potentially using projection for virtual production, [which represents] a lower cost of entry. So I’m pretty excited to see how that’s going to progress.
Also, I think we need reliable systems to run everything on [in order] to evolve the industry. You need to make sure your LEDs will not go black, that your media server’s not crashing. You need to know that your system’s reliable and you can do the production without impeding.
Finally, we are starting to see different styles of 3D engines and non-3D engines. Right now the focus is primarily on Unreal Engine, which is great. It’s a good tool, but there are other engines coming, which I believe for the industry is going to be super-important. They’re not coming from a gaming background; they’re coming from a virtual production workflow first. So that’s probably the most interesting thing, I think, and from a Disguise point of view we’ve always been engine agnostic. We’re not locked into Unreal Engine, so how we integrate with these tools in the future is yet to be seen.
The CEO of virtual production software and solutions innovator Pixotope, Marcus Brodersen, discusses the role of VP in creating a new generation of “flexible, efficient and creative production solutions.”
The ability to create and iterate content quickly and with more creative freedom allows for more innovative and engaging narratives…
Have you been surprised by the phenomenal rise of virtual production over the past few years?
While the rapid rise of virtual production has been impressive, it hasn’t been entirely surprising. Over the years, the media and entertainment landscape has become increasingly competitive, leading to a battle for viewership where broadcasters must provide unique and captivating content that stands out. Virtual production meets this demand for high-quality, immersive content.
At Pixotope, we’ve been at the forefront of this technological evolution, anticipating the industry’s needs for more flexible, efficient and creative production solutions, and witnessing the outcomes and results of those adoptions that include enhanced creativity, time efficiencies and ROI benefits. The ability to create and iterate content quickly and with more creative freedom allows for more innovative and engaging narratives, helping producers capture and retain viewers’ attention in a crowded market.
From your standpoint, what are the aspects of virtual production that excite you most — both in terms of the creative and commercial opportunities?
One of the initial benefits is the unparalleled level of creativity virtual production unlocks. As mentioned above, by leveraging these tools creators can craft visually stunning and highly engaging immersive environments that captivate audiences like never before.
On the commercial side, there is one exciting aspect in particular where we see our tools beginning to be used more — [namely that] virtual production unlocks new possibilities for unique and profitable advertising opportunities, and it is a frontier that is only beginning to be explored. With virtual production, broadcasters
can craft more immersive advertisements that are seamlessly integrated within the main broadcast, rather than relying on traditional ad breaks. This technique keeps the viewer engaged and immersed in the content as the advertisements become part of the viewing experience rather than a disruptive interruption. By blending advertising with the primary narrative, broadcasters can connect with their audience in a more natural and impactful way, resulting in retained audience attention, enhanced viewer experience, and ultimately, increasing the effectiveness and profitability of their advertising efforts.
A key example of this is when The Famous Group leveraged Pixotope technologies to promote Carnival’s tropical island escape. Just before the
kickoff of the San Francisco 49ers vs. Detroit Lions game, they showcased their mixed reality advertisement — a virtual escape to Celebration Key — in the centre of the stadium.
Please tell us a little bit about the history of Pixotope’s involvement with virtual production. Originally known as The Future Group, we were a collective of tech enthusiasts who believed in the transformative potential of realtime game engine technology to revolutionise broadcast content. We envisioned a future characterised by immersive and experiential storytelling and were committed to making it a reality.
A pivotal moment occurred in 2017 with the premiere of Lost In Time on Discovery Networks’ TV Norway. This project required us
to innovate from the ground up as there was no existing solution in the market. Following on from this, we sought to leverage our extensive knowledge and understanding of real-time virtual production workflows by developing our own software, leading to the creation of Pixotope.
Our unique approach provides the graphics engine that creates virtual elements, ensuring they blend seamlessly with the real world. As pioneers in leveraging Unreal Engine for broadcast virtual production, we enhance its usability with a userfriendly interface, making it both reliable and practical for creators. Since its inception, our software has been utilised by major global brands, including the NFL, League of Legends, Eurovision and The Weather Channel.
… we offer cutting-edge solutions for virtual production with a comprehensive software suite that transforms content creation
What are your leading solutions for virtual production, and what are you currently working on in terms of new features or products?
At Pixotope, we offer cutting-edge solutions for virtual production with a comprehensive software suite that transforms content creation. Our key solutions include:
Pixotope Graphics Solutions: Providing on-air graphics for augmented reality (AR) and virtual studios, along with the Pixotope Graphics XR Edition, designed for extended reality (XR) and LED wall output.
Pixotope Camera and Talent
Tracking: Our camera tracking software handles every element of real-time tracking, seamlessly merging real and virtual camera movements to perfectly align real and virtual worlds. Additionally, our AI-driven talent tracking software creates interactive, hyperrealistic virtual sets.
Pixotope Fly: A groundbreaking
through-the-lens (TTL) markerless tracking solution designed for simplified augmented reality creation with drones. This solution enhances the creative process by eliminating the need for physical markers and also now offers unique zoom capabilities.
Pixotope Living Photo: Transform 360º camera recordings of talent into photo-realistic 3D tracked AR assets that can be leveraged within any AR, XR and virtual studio workflow.
Pixotope Pocket: Putting the power of a virtual production studio in the palm of your hand, this app empowers creatives to explore and test virtual environments with ease, ultimately enhancing pre-production efficiency and streamlining the overall virtual production process. By leveraging Pixotope Pocket, creators are no longer confined to studios — they have the freedom to work from anywhere with minimal equipment.
Erizos Studios: Our integration with Erizos Studios enhances broadcast graphics pipelines, allowing seamless creation of character generator (CG), XR, AR, and virtual studio (VS) graphics elements that elevate storytelling and branding.
In addition to these product developments, we have also launched the Pixotope Education Program. This is a community initiative developed in response to the industry’s talent shortage and designed to equip the next generation of virtual production talent with the necessary tools and connections they need for a successful career.
Moving forward, we are incredibly excited about the upcoming release of Pixotope Reveal, an innovative AI-driven background segmentation solution. By leveraging AI, Reveal automatically isolates up to 20 talents
of all sizes and budgets. We are committed to breaking down the technical and financial barriers that often limit creativity, allowing more storytellers to bring their visions to life. We envision a future where virtual production becomes more standardised, user-friendly, and available to all creators and budgets of all sizes.
work with regional broadcasters, such as La 7, a local Spanish TV station, and VideoReport Canarias, as well as creative studios like The Famous Group and Silver Spoon Animation.
from their backgrounds, giving creators the freedom to add dynamic graphics and AR elements in front and behind the talent anywhere and anytime. Without constraints like chroma keying, lights, infrastructure or green screen, endless creative possibilities are available for any kind of production.
How would you like to see virtual production evolve in the next few years? For example, do you think that more standardisation is needed (as we are starting to see happen with camera metadata) and do you have any views on how this should be implemented?
For our team at Pixotope, our mission and the evolution we would like to see is the democratisation of virtual production, making it accessible and beneficial for creators
We believe that expanding virtual production beyond the studio is crucial for broader adoption. Our latest innovations, Pixotope Reveal and Pixotope Pocket, significantly contribute to this goal. These tools provide robust solutions for onthe-go creativity, making it easier for more productions to effectively embrace these technologies. Our aim is to empower creative teams to fully realise their artistic visions, revolutionising storytelling and making high-quality production accessible to all.
One common misconception is that virtual production is only for bigbudget projects. While it’s true that we collaborate with major clients like Warner Bros. Discovery, we also
Since launching our Education Program, we’ve seen growing interest from educational institutions eager to explore virtual production, proving that it doesn’t have to be exclusive to Hollywood-sized budgets. Our mission is to make virtual production accessible to everyone by optimising our products to require less hardware and integrate seamlessly with existing setups, keeping entry costs low. Many companies initially hesitate to invest in virtual production. However, those that do often discover a significant return on investment. Virtual production reduces the need for multiple physical studios, lowers footprint, and enables rapid switching between shows — even allowing for remote productions without travel. Virtual production is also incredibly versatile and applicable across various genres. It’s not limited to news or sports; we have a proven track record with TV shows, documentaries, commercials, and even corporate presentations. Essentially, any project that can benefit from creative visual storytelling can utilise virtual production.
‘VP’s vast potential to transcend the boundaries of technology’
Fresh from the launch of the latest version of the Sony Virtual Production Tool Set software, Sony Professional Europe’s business development manager, cinematography, Sebastian Leske discusses some of the many new creative opportunities heralded by VP.
Have you been surprised by the phenomenal rise of virtual production over the past few years?
The rise of virtual production has been in the making for years and is not surprising, given its vast potential to transcend the boundaries of technology and enrich storytelling by offering filmmakers an expanded canvas to express their creative visions. What was remarkable was the way the pandemic catapulted its progress forward so rapidly and took it to where we are today.
The film industry, including educational institutions and film festivals, is increasingly recognising the significance of virtual production. Commercials — carmakers in particular — are now often commissioned with virtual production sets in mind as a default. VP has moved from buzzword to a staple in the industry, as tools evolved, and workflows and ways of working matured. From C-LED panels, like the Sony VERONA wall now being installed at University of the Arts London (UAL), to colour calibrator or virtual cameras, as included in the Sony VP Toolset, both the hardware and the software necessary to create smooth and seamless virtual environments have progressed to a new level of practicality.
From Sony’s standpoint, what are the aspects of virtual production that excite you most — both in terms of the creative and commercial opportunities?
VP is set to transform every area of filmmaking and high-end TV production across the globe. The ability to blend real sets and props with virtual
backdrops expands creative possibilities while redefining the processes involved in a production, its carbon footprint and economic model.
Our colleagues at Sony Pictures published research showing that a virtual production has over 75% less carbon emissions than a location production. The increased incentive of “sustainable filmmaking” government grants, particularly in the Nordic countries or the Green Screen EU initiative, will no doubt mean that virtual production will be seen as an increasingly attractive filmmaking technology.
Please tell us a little bit about the history of Sony’s involvement with virtual production. Sony is a leader in virtual production solutions for filmmaking and high-end TV production. As world-leading experts in cinematography, our team have unrivalled experience working on the world’s biggest motion pictures and are at the forefront of developments in emerging technologies. After establishing the technology for movie and commercial creation, we’re now expanding our focus to the realm of live and multicam production for the TV industry itself.
What are your leading solutions and facilities for virtual production as of 2024, and what are you currently working on in this area?
Sony is the only company to provide both the high-end cinematic cameras (Sony VENICE/ VENICE 2) and LED displays (the latest-generation VERONA modular Crystal LED video walls that are ideally suited to demanding virtual production applications) that together achieve spectacular VP images, combining them with a VP Toolkit which automates and simplifies much of the processing necessary to synchronise timings and colour matching of cameras and walls. For this reason, Sony has developed expertise in deploying VP volumes across the world for both broadcast and cinematic or commercial purposes.
Sony will offer the latest version of its virtual production software, Virtual Production Tool Set, from winter 2024. The Virtual Production Tool Set is a combination of software that contributes to improving the quality and creativity of virtual production, furthering creators’ possibilities; it includes the Camera and Display Plugin for Unreal Engine and the Color Calibrator Windows 10 application for colour correction.
The development of modular specialist LED volumes like the VERONA means that you no longer need to have a large studio to be able to entertain the idea of a virtual production setup. Also, the smaller volumes provide a cheaper overall set-up, making VP so much more accessible.
The Virtual Production Tool Set is a combination of software that contributes to improving the quality and creativity of virtual production, furthering creators’ possibilities…
At the beginning of 2023 Sony opened its first VP studio in Continental Europe, in Paris, featuring Sony Crystal LED technology, with a state-of-the-art 90m² screen offering world-leading image quality for premium film, commercial and TV production in the Studios de France.
A few months later, Sony opened its first virtual production space in the UK within its Digital Media Production Centre (DMPC Europe) at Pinewood Studios. The state-of-the-art studio is designed for broadcasters, production companies and technicians to learn about and experiment with the huge cinematic potential of VP and the technology behind it.
Then, towards the end of 2023, University of the Arts London became the first organisation worldwide to invest in new Sony Crystal LED VERONA displays for a new state-of-the-art Virtual Production Stage at London College of Fashion Campus at East Bank.
There’s a compelling need to bridge the gap between conventional practices and these cutting-edge technologies to foster a new generation of storytellers
We’re now expanding into more broadcast applications with live trials in multicam switching with the EBU and the BBC, amongst others, as the benefits for studios maximising their usage and airtime are very tangible.
How would you like to see virtual production evolve in the next few years? For example, do you think that more standardisation is needed (as we are starting to see happen with camera metadata) and do you have any views on how this should be implemented?
Certainly, more efforts are needed to educate and equip filmmakers with the tools and knowledge essential for embracing this technological evolution. There’s a compelling need to bridge the gap between conventional practices and these cutting-edge technologies to foster a new generation of storytellers. Locations like Sony’s Digital Media Production Centre (DMPC) at Pinewood Studios, which has been at the
Are there any common misunderstandings or misconceptions about virtual production that you think need to be clarified?
There is often confusion surrounding the differences between the terms XR (Extended
as VP, but actually an LED wall can just be used for 2D plate playback — much in the same way rear projection has been done for years. VP, however, involves precise camera tracking data being fed through a game engine that is then displayed on an LED wall.
In his second article for Production 360°, Ben Swanton — founder and CEO of 808 Talent — explores the challenges of remote hiring in global broadcast media and sports technology.
For the past four years, the media, broadcast and sports technology industries have seen ongoing debates over the effectiveness of remote, hybrid and in-office work models. These discussions mirror the parallel arguments surrounding technology infrastructure as companies weigh the benefits of cloud, on-prem and hybrid solutions in adopting new technologies.
While many larger companies are championing a return back to the office, for the majority of smaller organisations remote recruitment remains crucial for growth. More than just a logistical choice, remote hiring is often a necessity that opens up access to global talent and gives businesses the flexibility to compete in a dynamic industry.
Recruiting remote employees has tremendous potential to reshape your organisation by offering a diverse talent pool, flexibility, and expanded capabilities that traditional hiring may not. However, it also presents specific challenges that I will look to address below — highlighting the most common pitfalls and outlining practical steps to help you achieve a successful outcome.
Before starting the hiring process, it’s crucial to align your remote recruitment strategy with your company’s broader goals. Clarify the purpose of the role and define your objectives, ensuring all stakeholders involved understand these elements. This alignment will help maintain consistent messaging throughout the hiring process, creating a clear and compelling narrative for potential candidates and increasing the chance for success.
• Pitfall: Diving into remote hiring without setting clear expectations can result in disorganisation, miscommunication and missed goals. This can also lead to long, drawn-out recruitment processes and poor candidate experiences which can tarnish your employer branding.
• Solution: Start by defining clearly why you’re hiring remotely and what specific goals these roles will help you achieve. Is the aim to access a broader talent pool, improve diversity, or bring in expertise from different regions (or a combination of these)? Share these objectives with all stakeholders, define the resources needed, and establish the metrics for success. Once you’re clear on this, recruiting becomes more purposeful and effective.
The vast majority of remote hiring can be for revenue-critical and/or strategically important roles. In these instances, prioritising the quality of talent is essential, which can be incongruent with the initial set budgets for recruitment. Therefore, being flexible with the budget to ensure that the ultimate business objectives are achieved can be key to a successful hire.
• Pitfall: Focusing on recruiting within a budget at all costs, and not having flexibility, can lead to short-term savings, but ultimately result in lower performance and costly turnover. The wrong hire can set your organisation back significantly. So it’s wise to match your expectations of the budget with the talent that is available within that budget.
• Solution: Be prepared to adjust your budget
…prioritising the quality of talent is essential, which can be incongruent with the initial set budgets for recruitment. Therefore, being flexible with the budget to ensure that the ultimate business objectives are achieved can be key to a successful hire
where it makes strategic sense. For example, if you’re hiring sales roles in regions like the US, understand that top talent will command competitive salaries. Look at these roles as an investment; having the right people in the right positions will drive long-term growth and stability.
Perhaps the most common pitfall in all recruitment is confirmation bias, but even more so when it comes to hiring talent that is remotelybased. Confirmation bias is our natural tendency to focus on and look for evidence that confirms our existing beliefs, rather than information that refutes it. Human nature dictates that we tend to hire people from familiar companies, competitors
or partner networks, assuming they will integrate easily due to similar industry experience. However, this approach can lead to a lack of diversity and stagnation in perspective.
• Pitfall: Defaulting to familiar backgrounds, rather than thoroughly assessing each candidate, can limit innovation and diversity within your team.
• Solution: Implement an unbiased, data-driven hiring process. Avoid leading questions and instead use competency-based evaluations that measure skills, experience and cultural fit objectively. Partnering with specialised recruitment agencies or headhunters can broaden your reach and introduce candidates who may bring new, valuable perspectives to your organisation.
4. Consider implementing psychometric testing
Understanding candidates’ personalities and motivations is important in remote work, where traits like self-motivation and adaptability are essential. Psychometric assessments provide insights that go beyond résumés and skills, helping you understand how candidates will fit into the team dynamics and remote environment.
• Pitfall: Skipping psychometric testing may mean missing out on important traits that could influence long-term success in a remote role.
• Solution: Incorporate psychometric or culturefit assessments in the recruitment process. These tests help ensure you hire the right person while also giving you a sense of how best to support them once they’re on board. This data can be particularly useful in tailoring
management approaches and ensuring productive work relationships.
5. Creating a comprehensive onboarding process
Effective onboarding is even more critical for remote employees, who can easily feel isolated or unclear about their roles without in-person guidance. A structured onboarding process helps new hires feel welcomed, supported, and prepared to succeed.
• Pitfall: Lack of structure in onboarding can leave remote employees feeling disconnected and uncertain about expectations.
• Solution: Design an onboarding plan that includes online training and, if possible, a visit to your HQ to meet the team. Outline their responsibilities and provide essential tools, along with regular check-ins to make sure they’re supported in their early days. A good onboarding process helps bridge the physical gap and strengthens connections. Share this plan before they join the business and also ensure all IT (and mobile) systems are set up for them on Day 1.
Regular and intentional communication is essential to remote work success, especially when working across different time zones. Without structured communication, remote employees may feel out of the loop, which can lead to disengagement.
• Pitfall: Infrequent or inconsistent communication can leave remote employees feeling isolated and disconnected from the
company’s goals.
• Solution: Set a consistent communication cadence that includes regular team meetings, personal check-ins and collaboration sessions. Weekly business reviews and monthly team meetings can ensure everyone is aligned on key goals. Encouraging team members to share their challenges and ideas fosters inclusivity and keeps remote employees engaged. For remote hires to succeed, it’s crucial to outline what’s expected of them from day one. This helps employees focus on measurable goals and avoid frustration or confusion about their role. Clearly define the goals for remote employees, covering their first six months, 12 months, and beyond. Regular performance reviews provide opportunities to adjust targets and keep the conversation open, allowing employees to share insights or challenges and ensuring everyone remains aligned.
By thoughtfully navigating the complexities of remote hiring, companies in the broadcast media and sports technology industries can leverage global talent and drive substantial growth. Prioritising clear goals, investing in onboarding, and maintaining an open, structured communication rhythm aren’t just best practices — they are essential to creating an environment where remote employees can thrive and contribute meaningfully.
As the industry continues to evolve, those who proactively implement these strategies will be best-positioned to build a resilient, engaged, and high-performing remote team, ready to meet the unique challenges and opportunities of a highly dynamic and competitive market.
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