Vizrt has announced that Viz Arena 5.2, its sports AR graphics and virtual ad system, will be added to its cloud technology.
Vizrt’s real-time live 3D graphics renderer and compositor, Viz Arena 5.2, is supported by NDI In/NDI Out capability. Powered by Viz Engine 5, it becomes is the first live 3D graphics and virtual ad solution in the cloud.
“Ingest an NDI stream of a game into your cloud and add virtual graphics – it really is that simple,” said Ulrich Voigt, Vizrt’s Global Head of Product Management. “This is extremely interesting for use-cases such as virtual ad insertion.
“With NDI at its very core, Viz Arena gives our customers the opportunity to move into IP video production and experience all the flexibility it offers, including the many ways to scale up productions and deploy their operators to suit any need.”
Viz Now, the Vizrt cloud technology, enables 4K switching, broadcast-quality overlay graphics, audio mixing, intercom, and – with the release of Viz Arena 5.2 – AR graphics. It all works in under 15 minutes of set-up.
Viz Arena 5.2 offers a new standard for cloud-based production efficiency. Insertion of live AR graphics, live image-based camera tracking and AI keying means sports broadcasters can be up and running in minutes. In addition to cloud support, Viz Arena can also be deployed on-premises.
Also at NAB, Vizrt said it is joining with ROE Visual by combining GhostFrame and Vizrt’s Viz Engine 5. Using Viz Engine 5’s rendering capabilities, ROE Visual’s Ruby RB1.9Bv2 high-frequency video wall, driven by HELIOS LED processing, will be used to achieve new possibilities in virtual live production.
GhostFrame works exclusively with ROE Visual LED panels and Megapixel VR HELIOS LED Processing. It can receive up to four Viz Engine signals at one time, which enables limitless possibilities in broadcast virtual production.
When combined with Vizrt’s Virtual Window technology, broadcasters can preview other camera perspectives simultaneously, which was previously impossible.
“This is the first time we will be showing the virtual window effect with our native Viz Engine render pipeline, but also with Unreal Engine in an optimized way with a lower latency than we’ve achieved before. Together with ROE Visual, we are illustrating the ability to use extended reality in a live-multi camera production without limitations,” said Gerhard Lang, Vizrt’s Chief Technology Officer.
The setup for the live XR demonstration uses ROE Visual’s Ruby LED panel, equipped with 1.9-pixel pitch, wide color gamut and 16 bit-depth. The visuals, created by design firm, dotconnector, will be captured by two RED Digital KOMODO cameras.
One camera is mounted on a stYpe Human Crane with stYpe RedSpy tracking and Follower for interacting with AR graphics. The other camera is mounted on a rail dolly from Blackcam controlled by electric.friends with AI automated shots.
The virtual scenes displayed will be rendered natively in Viz Engine 5.1 and in Unreal Engine 5.1. In this setup, both render blades have an ultra-low latency, allowing for fast camera movements.
Also, Vizrt announced a new version of Viz Social, which is completely cloud-native and browser based. It features a Flowics interface to provide a more intuitive and improved experience for users.
The new version of Viz Social increases speed, simplicity and offers users an advanced suite of integrations with social media and messaging platforms. It also features add-ons such as Twitch and Facebook Live extensions.
Users of Viz Social can also incorporate custom data from RSS and JSON feeds. The interface makes navigation and content curation easier and more efficient.
Operators can use all major social media accounts to offer audiences graphics and user generated commentary. Additionally, filters allow gathering, managing and visualizing social media content.
Finally, Imagine Communications announced a partnership with Vizrt — integrating its Viz Vectar Plus cloud live production solution with the Imagine Aviator Make TV cloud playout solution.
The partnership between Imagine and Vizrt brings dynamic live production and playout in the cloud together in a well-orchestrated solution.
It enables live production workflows for sports, news and live events to feed downstream live linear workflows. It also combines the nature of live production with the content acquisition, playout, branding, master control switching, SCTE decoration and ad insertion of Aviator.
The Vizrt Live Production system runs in the cloud and is operated via web browser or a physical control panel. The user can access incoming live streams for contribution. These streams, along with clip and graphics resources accessible to Viz Vectar Plus, are combined to deliver the final production output.
This output is available to Aviator, along with all other live streams in the cloud. The production feed can be switched to air by Aviator based on a schedule or as needed with its master control option to break into live programing. Aviator will return to the playlist after the live production based on the schedule — or unscheduled if the live event ends sooner or later than expected.
Each Aviator playout channel supports up to two live inputs per channel at any one time and controls cloud routing via Imagine’s Magellan Control System. It switches between live streams, between live and clip-based content and between two clips by selecting the appropriate source in the web browser user interface.
This includes support for DVEs for each input for both live and clip content. As a result, the combined Vizrt and Aviator approach offers the agility of cloud playout in an array of practical scenarios.
Beacham has served as a staff reporter and editor for United Press International, the Miami Herald, Gannett Newspapers and Post-Newsweek. His articles have appeared in the Los Angeles Times, Washington Post, the Village Voice and The Oxford American.
Beacham’s books, Whitewash: A Southern Journey through Music, Mayhem & Murder and The Whole World Was Watching; My Life Under the Media
Microscope are currently in publication. Two of his stories are currently being developed for television.
In 1985, Beacham teamed with Orson Welles over a six month period to develop a one-man television special. Orson Welles Solo was canceled after Mr. Welles died on the day principal photography was to begin.
In 1999, Frank Beacham was executive producer of Tim Robbins’ Touchstone feature film, Cradle Will Rock. His play, Maverick, about video with Orson Welles, was staged off-Broadway in New York City in 2019.
- Sony Electronics Focuses on Workflows for Broadcast, Live Events and Cinematic Content at NAB - April 17, 2023
- Blackmagic Design Introduces a New Version of DaVinci Resolve, an Updated ATEM Switcher and DeckLink IP, a New Family of PCIe Cards - April 17, 2023
- Panasonic Connect Enhances KAIROS Live Production Platform and Expands PTZ Camera/Switcher Line-Ups at NAB - April 17, 2023
