Despite pushing newsrooms temporarily into mostly remote production, set design vendors say COVID-19 won’t have a lasting effect on where sets were heading before the pandemic. They say viewers are likely to see more LED panels and walls, virtual sets and augmented and virtual reality usage in news studios. Above, for the TF1 broadcast news studio in France, Planar delivered a 750-square-foot curved video wall.
Robotic pedestals for newsroom cameras are fast evolving, allowing for more creative shots, AR and VR integration and far greater operational efficiency. Next up: full autonomy. Above: The Telemetrics OmniGlide Roving Platform features an innovative new drive system that is completely automated and leverages advanced software and XY sensors to “learn” the environment it is operating in.
Developments in TV news graphics have seen a host of improvements from better real-time flexibility to more streamlined workflows and even monetization prospects.
A few years ago, virtual reality was all the rage in Hollywood, helping to fuel the rise of Silicon Beach with the promise of reinventing the entertainment business. But investment in the technology has slowed dramatically in recent years, and what seemed like a promising boom has largely fizzled.
A few years ago, VR products from Samsung, Oculus, HTC and Sony seemed omnipresent and unstoppable at CES. These days, VR is mostly a niche product for gaming and business training, held back by expensive, clunky headsets, a paucity of interesting software and other technological shortcomings.
SpherePlay | Booth N3438SP-A| www.sphereplay.com SpherePlay is dedicated to the development of technological solutions that deliver enriched immersive experiences with a maximum of realism, fidelity and user-friendliness. SpherePlay solutions allow media companies to distribute interactive virtual reality video experiences directly from their existing applications and websites. The new Dual-X tool for the company’s Launcher VR […]
SpherePlay | Booth N3438SP-A | www.sphereplay.com SpherePlay, developer of the leading VR platform for publishers and broadcasters, today introduced the new Experience Manager console for the company’s innovative Launcher virtual reality (VR) media player. Making its debut at the 2018 NAB Show, Experience Manager makes it easy for broadcasters, publishers, and other content providers to […]
SpherePlay | Booth N3438SP-A | www.sphereplay.com SpherePlay is dedicated to the development of innovative technological solutions that deliver enriched immersive experiences with a maximum of realism, fidelity and user-friendliness. SpherePlay solutions allow media companies to distribute interactive virtual reality (VR) video experiences directly from their existing applications and websites. VR Experience Manager for SpherePlay’s Launcher — […]
Virtual and augmented reality give journalists the ability to tell stories that the audience can experience rather than simply consume. Both involve computer-generated imagery but use it differently.
When VR first made its major CES reemergence via Oculus Rift years ago, it was jaw-dropping. Those moments, since, are harder to come by. But there were discoveries, and trends, and things to talk about in AR and VR AT ces 2018. You just had to pay attention.
NewsTECHForum panelists agree that virtual sets and AR are the next step in news production. They’ve become practical because computing power has increased to the point where it can render “photo-realistic” backgrounds and graphics.
Turner Sports has partnered with Intel to broadcast weekly NBA on TNT games in virtual reality beginning with the 2018 NBA All-Star Weekend, which will be held Feb. 16-18, 2018. In the multi-year deal, Intel will become the exclusive provider of VR for the NBA on TNT and deliver live content for weekly matchups via its Intel True VR technology.
SAN FRANCISCO (AP) — Facebook CEO Mark Zuckerberg seems to be realizing a sobering reality about virtual reality: His company’s Oculus headsets that send people into artificial worlds are too expensive and confining to appeal to the masses. Zuckerberg on Wednesday revealed how Facebook intends to address that problem, unveiling a stand-alone headset that won’t […]
Watching TV sports in virtual reality is currently a neat idea marred by uneven and distant-feeling execution. Anick Jesdanun says viewers should look to what’s coming, not necessarily what’s in their headsets now. Viewers would do best to think of VR as a supplement, rather than replacement, to regular TV sports viewing. And tech developments are promising better views and better immersive replays on the way.
Virtual reality has emerged as one of the hottest new areas, with Facebook, Google and Microsoft pouring resources into development. Facebook’s $2 billion purchase of Oculus in 2014 signaled how important the platform finds the area. Publishers and marketers have followed suit with their own experiments in VR. Digiday Research surveyed 172 executives from media and marketing companies to uncover their approaches to VR — and the development of the market. Here are the key findings.
When it comes to virtual reality, few publishers are as committed as The New York Times, with its dedicated VR app and Daily 360 feature, helped by funding from tech giants Samsung and Google. Another early mover, USA Today, is entering its second season of its weekly VR show, VRtually There. But outside those two publishers and a handful of others, there’s less to crow about.
A key factor limiting the amount of quality virtual reality content available today is the cost of producing it relative to the number of people who have the technology to can view it. Imagine how that value proposition would change if the number of people who own a headset doubled in the next 12 months. If respondents to a survey by research firm Magid are to be believed, it’s a possibility.
Like search and advertising before it, Google is setting the stage to dominate VR and AR by going all-in on mobile.
Video in the new At Bat VR app won’t be in VR. Rather, the app places you behind home plate and shows you graphical depictions of each pitch, including a colored streak (red for strikes and green for balls) tracing the ball’s trajectory. The data come from sensors Major League Baseball already has installed in all of its stadiums.
AR, mixed reality, VR, immersive computing: how many terms can reality take? The AR-VR turf wars have begun.
The main takeaway from Facebook’s F8 developer conference was that the social media giant is making big bets on augmented and virtual reality. Worldwide revenues for the augmented reality and virtual reality market are projected to approach $14 billion in 2017. But that’s forecast to explode to $143 billion by 2020. But Facebook is hardly the only company making big AR/VR plays.
NextVR made sports history by broadcasting weekly NBA games in virtual reality. The next step is getting people to watch.
A new Reuters Institute report VR for News: The New Reality? by Zillah Watson, who has led the editorial development of VR experimentation at the BBC, examines ongoing developments in VR, the major challenges — both in terms of content and application, and technology — and what the future of VR might look like for news organizations around the world.
Turner Networks will stream select games from the final rounds of the NCAA Men’s Basketball Tournament in 360-degree virtual reality on Oculus-powered Samsung Gear VR headsets. Those with the necessary Samsung hardware and the NCAA March Madness Live VR app will be able to view games from the tournament’s Sweet 16 and Elite 8 rounds, as well as the Final Four National Semifinals and the National Championship. They can choose to pay $2.99 a game or $7.99 for a package of six.
Advocates of a mainstream existence for virtual reality and augmented reality content generally bet that the pathway to that existence is a header — as in helmets, goggles or something else people wear on their heads. Mobile devices rate a distant second, as in smartphones or Google’s Cardboard product. But after Digital Hollywood’s annual Media Summit last week in New York City, all bets are off.
The media and entertainment company is launching DMG VR, a new unit focused on immersive storytelling. As part of that effort, DMG is unveiling Arcturus, a company focused on interactive narrative experiences and technology, that it incubated under the DMG VR umbrella.
CNN is making a grand entrance into the immersive medium of VR with a new effort called CNNVR. It says it is launching the VR unit to “transport users to the front row of global events.” CNN has already worked on nearly 50 pieces of 360-degree content, so the main news is that there is now a more centralized home for viewing the content and a more formalized internal structure for producing it.
Done right, interactive videos can be a big hit with consumers. But high costs and fickle audiences can make them risky.
On Stage, the new virtual reality show co-produced by Hulu and Live Nation, launched on Hulu’s VR app Thursday. The first episode features performer Lil Wayne, while the second, featuring Major Lazer, will debut later this year.
Probably not, says Erin Griffith, who recounts her recent experiences with the tech at CES. She likens VR to 3D printers in their early days, when hype would have it that everyone would have one in their homes, “except every home didn’t need one, and they remain an expensive curiosity to most.”
A new generation of virtual reality technologies seeks to significantly expand the social and physiological effect of virtual experiences, with profound implications for journalism. Journalism inside these new virtual worlds will require an entirely different set of skills and approaches, and will challenge three core journalistic concepts: representation, witnessing, and accountability.