In Broadcast - October 2017 - 45

45

www.inbroadcast.com | Vol: 7 - Issue 10 | October 2017

Graphics & Editing

InFocus
cont'd...

InfinitySet 3 features the unique TrackFree technology

Avid debuted Maestro Sports at IBC

shots. In other words, it allows the
editor to review their timeline and use
keyboard-driven editing for trimming
and markers while wearing the same
VR head-mounts as their audience.
It will work either on screen or, more
appropriately, with an Oculus Rift or
HTC Vive headset. Immersive effects
are designed to apply Blur, Glow,
Sharpen, Denoise, and Chromatic
Aberration filters in a VR version
allowing proper results that a flat
image filter could not produce.
In addition, audio will be determined
by orientation or position and exported
as ambisonics audio for VR-enabled
platforms such as YouTube and
Facebook. VR effects and transitions
are now native and accelerated via the
Mercury playback engine.
"Video is the fastest growing
medium in communications and
entertainment," said Bryan Lamkin,
SVP of Digital Media at Adobe.
"Adobe is breaking new ground in

Silver, installed on the RoboRail,
is part of ChyronHego's range
of virtual studio/AR trackers

collaboration, social sharing and
analytics to accelerate workflows for
all video creators."
Brainstorm's InfinitySet 3 virtual set
tools now includes the graphics editing
and creation features of Aston so it can
edit, manage and create 2D/3D motion
graphics when required.
The incorporation of Aston graphics
allows direct editing of not only Aston
projects, but the individual elements,
animations, StormLogic, data feeds,
and so on as if they were in Aston.
This means that in broadcast
operation, or while on-air, InfinitySet
3 operators will be able to adjust any
object in the scene, even those with
added properties such as animations
or external data feeds, without
having to do so in a separate Aston
application.
The package supports third-party
render engines such as the Unreal
Engine. As it is integrated with the
Brainstorm eStudio render engine, this
allows InfinitySet 3 to control, in realtime, the Unreal Engine's parameters
such as 3D motion graphics, lowerthirds, tickers, and CG.
The product also comes with
technologies such as 3D Presenter,
TeleTransporter,
HandsTracking,
and FreeWalking, all of them using
Brainstorm's
unique
TrackFree
technology. Especially interesting is
a VirtualGate feature, which allows
the integration of the presenter not
only in the virtual set but also inside
additional content within it, so the
talent in the virtual world can be
'teletransported' to any video with full
broadcast continuity.
Sixty has a slick Interactive TV
graphics system that layers on top of
existing high-end graphics displays
(from companies such as ChyronHego,

Vizrt, or Ross). This creates a
simplified workflow for producers
while offering a highly-interactive
graphical display for users on a touchscreen tablet or phone.
Users can access loads of advanced
analytics and Sixty fully integrates
with data services from Opta, STATS,
and more. The software also places
monetisation at the forefront, allowing
producers to automate ads tied to
events such as goals, and even prompt
sales of products such as jerseys or
other items that are tied to real-time
moments in the stream.
ChyronHego has a freshly minted
integration of its Silver robotic camera
head with the RoboRail straight
camera rail system from Mo-Sys for
a camera tracking and augmented
reality graphics solution. Silver is
part of ChyronHego's range of virtual
studio/AR trackers that provide
real-time, precise camera motion
within 2D or 3D computer-generated
backgrounds.
Installed on the RoboRail, mounted
vertically or horizontally on a wall,
ceiling, floor, or even the anchor's
desk, the system makes it easy for
news productions to enliven their
newscasts with visually compelling
AR graphics. MOS interfaces with
newsroom computer systems enable
ChyronHego's CAMIO graphic asset
management server to deliver the AR
and virtual set graphics to air, together
with the right assets and camera
motions.

Google has spent US$30billion on
building out its Cloud services and
is now pitching it to media. "For us,
Cloud is about scale and there is no
limit to what media can do," explained
Jeff Kember, Technical Director Media,
Google Cloud, at IBC. "We have an
end to end production workflow from
camera raw and debayering through
image recognition, editing, and on to
archive and disaster recovery."
The editing he mentioned refers
to Google's ability to apply machine
learning to data in the Cloud. For
example, it has a research application
allowing
production
teams
to
automatically generate highlights reels
from uploaded rushes - potentially
shortcutting the bespoke systems of
Avid or EVS.
"Our goal is not to replace human
editors but to make the process more
automated," said Kember of what he
called 'intelligent clipping.'
Its Cloud rendering was used
by facility MPC in London and the
shooting stage in LA for creation of
The Jungle Book.
"VFX companies are using Google for
simulation and beginning to expand
their entire production workflow
into the Cloud. Ultimately, digital
intermediate colour correction will go
this way too. If you have just released a
2K version of a show and need to do a
4K version you can pull this data from
the Cloud in minutes, perform all the
DI, master the HDR, and use Google to
distribute."

Ultimatte 12 - Blackmagic Design's real time compositor
http://www.inbroadcast.com http://www.brainstorm3d.com/products/infinityset/ http://www.avid.com/products/maestro-sports https://www.blackmagicdesign.com/products/ultimatte
Table of Contents for the Digital Edition of In Broadcast - October 2017
