In Broadcast - November 2014 - 62

I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 37 - NOVEMBER 2014

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62

role in allowing broadcasters
to differentiate themselves from
competitors. "We specialise in
helping our customers through
the use of a modular approach
to development that allows
components to be mixed and
matched in interesting ways."
At IBC, RT Software showed
4K support for its tOG rendering
platform - including real-time 4K
video-based camera tracking in
the tOG-Sports Product. "We also
showed full HTML5 control with
streaming of the system output. This
allows presenters not just to control
graphics and animations from a
hand held device, but also see the
result directly on the tablet without
looking at their feedback monitor."
There has been a similar
development from NewTek. "It's
been common to mix live elements
like furniture, ﬁxtures and props
within a virtual environment and
keyed backgrounds," says Ellen
Camloh, Senior Director Worldwide
Product Marketing. "As producers
look to economise, the lines are now
starting to blur in even the structural
elements - such as the growing use
of live video feeds playing overhead
in a virtual truss, or in display-like
props situated throughout the
studio. Taking a step further, we've
enabled the appearance of normally
structural elements to blend into
the live interaction with imaginative
capabilities such as motion tracking,
which can map real-time visuals to
a prop held by the presenter just
like a monitor. The live visual moves
wherever the presenter roams,
keeping the virtual immersion going
even further."
She adds that all professional
line TriCaster models have been
updated to include Holographic
LiveSets. "This takes our virtual sets
to a whole new level of immersion.
The basic idea is that, rather than
compose a virtual set with a couple
of ﬁxed camera angles to emulate
a physical studio, this new type of
virtual set lets you create a full 360
degree virtual environment from
your own panoramic imagery, and
immerse on-screen talent into the

FOR-A's VRCAM can control the
MBP-100SX MXF Clip Server as
a playout source for its virtual
videowalls

Eyevis displays are in evidence on the set of the ZDF Morning Show from Germany

world you've created."
FOR-A's VRCAM3 Sensor-less
Virtual Studio System supports
up to four cameras that can be
programmed via the production
engine to provide eight pre-set
positions per camera in virtual
space. VRLINK provides an
integrated connection to FOR-A's
HVS-300HS for camera control
and virtual positioning. Users can
now drag and drop the cameras
and position buttons on the GUI.
VRCAM already features the use of
video and graphics in its on-screen
virtual billboards, but now, it can
control FOR-A's MBP-100SX MXF
Clip Server as a play-out source for
its virtual videowalls.

Display Demands
Of course, producers often want
their graphics displayed on the set,
as well as keyed over the action.
So how do the makers of display
systems handle today's needs?
"Customers look for
visually stunning set
design that works
on-camera," states
Jennifer Davis, Vice
President Marketing
for Planar Systems.
"Our displays include
colour temperature
settings
and
grayscale levels that
allow the display to
look as impressive
on television screens
as they are in reality.
Add features like
touch interactivity
and tiled video wall
capabilities, for the
assembling of very
large backdrops, and
the set expands to
narrow bezels and
responsive multi-

touch systems for on-air analysis
and graphics manipulation."
To meet those demands, Planar
Systems offerings range from small
format displays appropriate for
desktop use by reporters and oncamera talent to large video walls
and screens used for set design,
as well as control room displays.
To deliver features for on-set use,
Planar's Clarity Matrix LCD Video
Wall System uses electronics
architecture to take points of weight,
depth, heat, and noise off the wall,
allowing sources to be co-located
with the electronics and power
equipment elsewhere in the building,
away from the studio set.
According to Heiko Schaich,
CTO of eyevis GmbH, improved
presentation techniques have
placed increased demands on
makers of visual display systems.
"Different viewing angles, as well
as moving cameras, characterise
modern television. Modular display
systems in the backdrop have to
meet these demands, and that
means they

need a high brightness and
colour stability from different
viewing angles."
He explains: "The solution is rear
projection screens consisting of two
parts - a Fresnel-lens and a special
diffuser screen. The Black Bead
screen, which eyevis uses in its
rear projection cubes for broadcast
applications, has the best colour
and brightness stability with larger
viewing angles."
Schaich says that while cubes
have higher long-term colour
stability and a bezel that is smaller
than that of LCDs, their depth is
often a problem, especially in
smaller studios. "To solve that
problem eyevis has developed
its Slim-Cubes with a very small
depth of only 455 mm - with 50inch screen diagonal and full HD
resolution. In addition, to save
more space the Slim Cubes have
a stackable housing, which means
there is no supporting structure
necessary for the installed video wall.
And by designing a front access, no
maintenance area behind the video
wall is necessary - thus saving even
more space."

Planar's Clarity Matrix LCD Video
Wall System uses electronics architecture to take
points of weight, depth, heat, and noise off the wall

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