Computer Graphics World

July-Aug-Sep 2023

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j u ly • a u g u s t • s e p t e m b e r 2 0 2 3 c g w 2 9 making this work in a live broadcast environment." Like Fox, the producers of The International, the annual e-sports world championship for the video game Dota 2, deployed Ghost- Frame to shoot multi-cameras with different LED wall perspectives but also used a hidden tracking setup. This was a QR code pattern 'concealed' inside the LED wall, perceptible only by camera tracking sensors. Both cases illustrate how GhostFrame is being used to create im- mersive shows around the live event in a way that gives the produc- tion team greater freedom to enhance program output. Another mode is to have the camera running at high frame rates, enabling it to capture and separate some or all of the hidden reali- ties that are in the wall at the same time. This is tremendously useful when shooting commercials, for example. With the foreground sub- ject staying the same, the production can record a night scene in To- kyo and daytime in New York at the same time with a 100% match. In effect, each camera 'sees' and records its own LED background, streamlining the traditional multi-cam process. Instead of shooting a single camera and blocking the scene out multiple times or arranging a multi-cam shoot and changing the background on the LED wall for each angle, now you can capture three or four shots in one go. What might normally take you two days is now possible in an aernoon. Producers will also appreciate the safety net of always having a green screen copy of what's been shot. If a change is required in post—such as rectifying a continuity error or an alteration to the script—you can always make those changes using the chromakey version without costly reshoots. There's no need to rehire your ex- pensive talent or rebook a studio. Add that to the ability to shoot as many realities as you like, and GhostFrame enables a huge reduction in the cost of virtual production—which is one of the biggest hurdles facing the methodology to date. You can use any lighting fixtures, but if you use GhostFrame-com- patible lighting products you can control all the lighting of your scene with the same processor used to control the LED for optimal pho- torealism. This also enables scene-specific lighting for your hidden realities in GhostFrame. Since the technique requires a high frame rate LED wall to gener- ate and delete images thousands of times per second, the quality of the LED screen is important. Partners in the GhostFrame ecosystem include ROE Visual LED products, whose displays run fast enough at the required quality to facilitate the technology; along with Megapix- el VR, whose HELIOS processor controls the LED wall and is home to the GhostFrame control interface. Today, GhostFrame combines chromakey, camera tracking, and up to four video feeds into a single production frame, dependent on your choice of production setup. In the near future, this could rise to as many as eight different sources. Indeed, the only limiting factors on the use of GhostFrame are those in existing hardware such as an LED wall or camera, technologies which are advancing at pace all the time. Peter Angell is the CEO of AGS. facebook.com/CGWmagazine @CGWmagazine Immerse yourself in the latest industry news. Your destination for all things CG. Subscribe Today! CGW.com

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