Spidercam’s involvement in such a landmark moment adds to its growing reputation as the go-to solution for delivering stunning visuals for live events, concerts and sports worldwide. Whether used to capture the action of a high-stakes football match or to give concert goers a dynamic perspective of their favorite artist, spidercam proves time and time again that it enhances the audience experience in ways that conventional camera systems simply cannot. 

While the record-setting screen at Adele’s Munich concert rightfully took center stage, 91ÌÒɫ’s spidercam played a key role in delivering the visual content that filled the enormous display. Suspended from cables high above the crowd, the spidercam system provided crystal-clear, broadcast-quality footage, offering sweeping shots that made even the farthest seats feel connected to the stage. Its ability to cover every angle, even in a massive venue, ensured no detail was missed, from Adele’s intimate moments at the microphone to the custom visuals played during each song. 

The spidercam system is suited for productions of any size, with a winch-driven “cable web” that can be spun over any area, allowing the dolly to roam freely. In Munich, it was set up to capture the full scale of Adele’s performance while navigating the challenges of filming in a venue equipped with the . From a technical standpoint, the spidercam allowed for seamless integration with the production’s overall vision, making it an invaluable asset to the team behind the scenes. 

The Munich concert isn’t the first time spidercam has been involved in a high-profile event. Used in sports arenas like the Euros and FIFA World Cup, award shows like the Oscars, and concerts across the globe, spidercam has become an essential tool for production. 

For event producers, spidercam opens a world of creative possibilities. Whether capturing the energy of a live concert or covering every angle of a sports event, this cable-based camera system offers flexibility and reliability that few other camera systems can match. It can be rented for short-term projects, like a one-off concert, or integrated into long-term productions, allowing it to adapt to the demands of any event. 

As demonstrated over Adele’s ten-show run in Munich, spidercam is more than just a camera system. It plays a crucial role in creating experiences that leave a lasting impact on audiences. It has proven how it can rise to the occasion, no matter how ambitious the project is. Even though 91ÌÒÉ« didn’t directly contribute to the Guinness World Record, the images from our spidercam brought the screens to life. And as our Project Manager, Jens Steinmann, said, “We are proud to have been part of it.”  

In an industry where every detail counts, spidercam continues to deliver unparalleled results, making it the go-to choice for event producers looking to elevate their productions and create something extraordinary. 

The post Spidercam delivers unforgettable experience at record-breaking Adele concert appeared first on 91ÌÒÉ«.

The collaboration between 91ÌÒÉ« and dB Broadcast brought state-of-the-art technology to the event, enabling the young attendees to explore every aspect of television production within a fully equipped studio. From stepping into the shoes of a presenter to working with sound, operating cameras, and experimenting with green screens, the scouts and guides were given a rare chance to experience the complexities of broadcast media. One of the highlights was the use of 91ÌÒÉ«’s powerful Carbonite production switcher, which allowed the young people to produce an authentic magazine-style programme and learn the intricacies of live television.

This initiative provided a fun and educational experience. The hands-on approach allowed participants to challenge themselves, make new friends, and discover potential future careers in the media and technology sectors. Lewis, one of the scouts who participated, shared his excitement: “It was very interesting; I had no idea it was that complex with all the different screens.”

Mike Bryan, Technology Director at dB Broadcast, said: “Introducing young people to broadcast technology in a fun, hands-on way is key. It sparks curiosity and lays the foundation for future media innovation.”

“Working with these young people was inspiring. Their enthusiasm and curiosity were contagious, and it was great to see them dive into the world of broadcast technology with such excitement. It’s been a joy to watch them learn, create, and have fun along the way,” said Hayley Farrar, Demo and Training Specialist at 91ÌÒÉ«.

The has always been a celebration of Girlguiding and Scouting, but this year’s event, powered by the expertise and technology provided by 91ÌÒÉ« and dB Broadcast, added an exciting new dimension, ensuring the young participants had an unforgettable experience.

Karen Packer, Joint Jamboree Chief, said: “We’re immensely grateful to the technology providers for this opportunity. Thanks to their support, our young people explored an area many of them may not have encountered before, sparking their creativity and expanding their horizons. This experience has opened doors to new possibilities.”

This hands-on experience has truly powered the potential of the next generation of media technology professionals, inspiring them to explore exciting future careers in broadcasting. Most importantly, they left the event with new skills, fresh inspirations, and memories that will last a lifetime.

The post Inspiring the Next Generation of Broadcasters at Essex International Jamboree appeared first on 91ÌÒÉ«.

We sat down with Jens Steinmann (JS) | Head of Project Engineering, spidercam and Louisa von Lenthe (LvL) | Director Inhouse Operations, Sports Production, Sky Deutschland, to delve into their continued relationship and how the technology has changed the way they work.

Q: How did the partnership between Sky Deutschland and spidercam begin?

JS: The idea to integrate spidercam into the Sky Deutschland studio emerged around the end of 2016. With an existing relationship forged through various outside broadcast productions, Sky approached us for a spidercam installation in their new football studio.

LvL: Having utilized spidercam in field operations for several years, incorporating it into our studio was a logical progression. Familiar with the team and the system’s functionality, our aim was to uphold the highest quality in our T1 productions while enhancing the overall user experience – a goal successfully achieved by spidercam.

Q: What is the advantage of having a cable-based system in a studio environment?

JS: Employing spidercam in a studio setting brings a distinct advantage: delivering camera movements unmatched by other systems. We boast unparalleled flexibility compared to camera cranes, offering a smaller, less intrusive, and highly mobile solution. This eliminates the need for steadycams, tracking cameras, and camera cranes. Furthermore, spidercam enables stable AR graphics and the capability to reach any point in the studio within seconds.

LvL:  The use of the spidercam system gives us the opportunity to make the storytelling in our programs more dynamic and to add high-quality augmented graphics.

Q: Can you describe the nature of your relationship?

JS: Our relationship with Sky is excellent, and we are pleased to continue supporting them. They have been pioneers in augmented reality (AR), relying on spidercam and our graphics from the early stages. Their high standards constantly push us to innovate, fostering a fantastic and collaborative relationship

LvL: The relationship has always been cooperative and constructive. We share a deep understanding of each other’s needs and challenges, working collaboratively. The enduring relationship we’ve cultivated over the years is one of the most rewarding aspects of our collaboration with spidercam.

Q: What type of training and support did spidercam provide?

JS: Initially, we supplied a pilot and operator for approximately a year, aiming for Sky to operate the system independently, a goal they accomplished. Our engineers are available round the clock for any assistance, and while the demand for support has diminished over the years, we are always prepared to assist Sky whenever needed. Additionally, we maintain ongoing support through training for new features and providing pilots as required.

LvL: The experience was extremely positive. The spidercam team adhered to all our agreed terms and conditions, making the collaboration enjoyable.

The partnership between Sky Deutschland and spidercam is just one example of the importance of collaboration when integrating broadcast technology, which can even lead to enhancements in production quality and operational efficiency.

We look forward to an ongoing partnership with Sky Deutschland that promises to continually push the envelope of what’s possible in live broadcasting.

Discover how Sky Deutschland implemented a range of Ross Robotics — read our full case study here.

The post Managing Relationships — Sky Deutschland & spidercam appeared first on 91ÌÒÉ«.

, an award-winning international design firm specializing in broadcast design, interior environments, and experiential events, embarked on an exciting challenge in 2020 when collaborating with a tier-one broadcaster. Their mission was straightforward: design production environments that seamlessly blend visual aesthetics, functionality, and flexibility.

The design process had to accommodate a range of complex demands, including the seamless integration of innovative technology to support a 360-degree shooting plan, all while preserving the storytelling integrity of the editorial teams. Moreover, the project had to find creative ways to accommodate program adjacencies within limited physical space.

We talked to Clickspring Design’s Director of Account Management, Christopher Ferguson AIA, (CF) about the challenges faced and the importance of collaboration between all parties.

How important is knowing what Robotics are being incorporated into a studio project?

CF: The earlier that we can understand the systems that will drive the functionality of the production, the better. Early discussions enable us to make recommendations that prevent later scenic and engineering revisions.

How did you get involved in this project?

CF: We had produced conceptual designs for a smaller, ancillary studio in early 2019, but instead of building out that studio, the client invited us to an RFP for their flagship Studio and Newsroom, and we were lucky to be awarded the work.

How did you approach the set design?

CF:  The resulting design is a holistic realization of the client’s vision and a unique series of spaces that can function independently of each other.

Did you have to modify the design after the original brief?

CF:  Yes, the rail systems were not initially part of the design brief but proved to be a game-changer when we began our creative workshops, especially as the studios would greatly benefit from their inclusion.

The client’s creative and technical teams also understood the benefits of having a high and low rail in the main studio and newsroom.  The ceiling-mounted rail systems were carefully designed to minimize their impact on the set’s layout, allowing for greater flexibility and expanded shooting possibilities.

The client, 91ÌÒÉ«’s technical team, and our team had to collaborate closely throughout the process to ensure a seamless implementation. The technical team at 91ÌÒÉ« had to take extreme care to understand the tight tolerances and unique paths that were planned — and dedicated a lot of time in creative workshops to understand the parameters of the client’s system. That close coordination continued on-site throughout the installation.

How do you feel about the result, including what you wanted to achieve with the overall set design?

CF:  We are all incredibly proud of the outcome, a sentiment our client has shared with us repeatedly since the launch. The idea of movement was central to their original creative vision. Tracking shots while the anchors moved within the studio was critical to achieving that, as was capturing the height and breadth of the space. These shots would typically require a floor-mounted jib, but the ceiling-mounted SkyDolly camera systems with three tracks encircling the studio removed that need. This helps to free up floor space for the presenters and allows the free-roaming CamBot pedestals to move almost anywhere in the studio.

This project is among those where the challenge was well worth the opportunity to produce something that pushes the industry forward.  We’ve met the objective and provided our client with a high degree of flexibility in capturing shots and creating unique on-air experiences.

What advantages does integrating rails into the set offer??

CF:  Rail integration offers many benefits, especially for directors and producers who can pre-program their shots, and it’s simply easier to produce more shots with fewer camera operators. Using a combination of robotic pedestal cameras, tracking rail cameras, and operators that move freely in the studios allows for flexibility and quick changes to blocking and talent movement.  

What are the main challenges when incorporating robotics into set designs?

CF: The engineered assemblies of the robotic tracking cameras must also be incorporated into the set design. Tight tolerances mean product specifications must be evaluated down to the fastener, and we must consider every designed element that can be seen on air. Cable management for the tracking cameras and the location of positioning targets for robotic cameras are two examples of these considerations where aesthetics and equipment performance need to be aligned. 

Have you had any projects where the design has had to be modified considerably to incorporate robotics?

CF: That is something we work to avoid; however, decision-making sequencing is not always linear in ambitious projects with challenging timelines. In these cases, the robotic systems being introduced need to be evaluated against the designs currently in progress, a consideration that cannot result in a “forced fit,” which could compromise performance. Continuous coordination is critical in all our broadcast studio projects to ensure a seamless marriage between the robotic camera systems and design intent.

If you had to name three factors that contribute to project success from concept to execution, what would they be?

CF: The three essential elements that add value to a project are meticulously vetted project budgets and timelines, transparent and open communication between project teams, and an unwavering commitment to prioritizing the on-air product above all else.

For any inquiries or to learn more about how can help make your vision a reality, reach out to our team using the form below.

The post Robotics and the Future of Broadcast Studio Design appeared first on 91ÌÒÉ«.

TouchDrive panels

When combined with the Carbonite Ultra 60 production switcher, the new TD3 and TD4 panels now empower production facilities to deliver larger and more intricate live productions at a fraction of the cost of comparable systems. 

What’s New

Building off the current TD3S, which boasts 25 crosspoint buttons, the TD3 and TD4 are taking it up a notch with 35 crosspoint buttons as well as three (TD3) or four (TD4) assignable control rows. On the left side of the panel there’s a vertical delegation screen, designed to accommodate advanced Row Delegation Features in future releases.

Now, let’s talk about the exciting additions on the right side:

1. Introducing the new 30 Button ShotBox Modules (TD4 has 2 of these). Equipped with an LCD screen, operators can personalize their layout and control by assigning functions just like they would with User buttons.
2. We’re also introducing a brand-new Menu Module with double the number of knobs and buttons for enhanced control and navigation.
3. To further enhance the user experience, there’s a new Joystick Module featuring a 15 Button Shotbox for User buttons and Menu/Joystick Navigation controls.

One of the remarkable features of the TD3 and TD4 is the flexibility in repositioning the right-side modules within the column. Operators can freely move the ShotBox module to the bottom row and swap it with the Joystick Module or relocate the Menu Module to the top row, customizing the layout to their preferences.

In terms of service and support, the entire TD Series has adopted a semi-modular approach. This means that replacing a module is now quicker and less disruptive, as they mount from the top rather than requiring access from the inside of the panel.

Furthermore, all panels in the TD Series are now powered by a Ryzen 6 Core CPU with over four times the RAM compared to previous TD Panels. This upgrade ensures faster response times and provides ample memory for caching DashBoard Menu pages, delivering a more efficient and responsive user experience.

TouchDrive TD3 and TD4 Panel Compatibility

In addition to supporting the new Carbonite Ultra 60 production switchers, the new TD3 and TD4 panels are compatible with a range of production switcher solutions from Ross including:

• Ultrix Carbonite and Ultrix Acuity hyperconverged switching and routing platforms
• Carbonite Ultra mid-sized production switcher
• Graphite all-in-one production system

To learn more about the latest TouchDrive panels, please reach out to productionswitchers@rossvideo.com.

To place your order for the newest TouchDrive panels, you can connect with a Regional Sales Manager closest to you.

The post Introducing the next-generation TouchDriveℱ control panels appeared first on 91ÌÒÉ«.

In addition to the no cost feature upgrades that are now available for existing Carbonite and Graphite customers, anyone who would like to explore either of these systems more fully can now download an Open Video Appliance (OVA) simulator to their personal computers. The simulators launch virtual switchers that can be configured and controlled using DashBoard, 91ÌÒÉ«’s powerful command software.

Carbonite Ultra and Ultrix Carbonite Upgrades

Carbonite v7.1 brings a host of new features to streamline and enhance your live productions, including:

• Ross Platform Manager support for managed systems
  • Manage user access
  • Share settings files among multiple Carbonite Ultra or Ultrix Carbonite systems
• Additional MultiViewer layouts and more flexible source UMD naming features
  • Assign fixed MultiViewer names independently of Source or TSL Names
• Multi-level shift functions
  • Provide access to a greater number of sources on both small and large Control Panels
• TSL 3.1 and 5.0 Tally/UMD Support
  • More flexible Tally and UMD connectivity and device support
• Assignable Output and Custom Control Bank names
  • Reduce operator confusion with unambiguous Output and Custom Control Bank names
• MediaStore Refresh Function
  • Quickly rescan and update connected USB drives
• And more!

For a deeper dive on these features, explore the

Graphite v6.1 is Now Available

Graphite v6.1 is also available for download and comes with a range of new features and functionality designed to make operations on your all-in-one production system more efficient, including:

• Share Settings files between Graphite, Carbonite Ultra and Ultrix Carbonite
  • Reduce setup time and while reducing configuration errors
• Multiple AFV Triggers
  • Trigger Audio-Follow-Video operation from groups of sources simultaneously
• Dual-level GPI Triggers
  • Configure high and low-level GPI trigger events using a single GPI connection
• Up to five configurable MultiViewer up/down timers
  • Replace system clock with up/down timers for increased confidence and reduced errors
• Assignable Custom Control Bank Names
  • Reduce operator confusion with unambiguous Custom Control Bank Names
• Aux Mix access from Main Mix faders
  • Re-enter Aux Mixes as Main Mixer sources to simulate “audio grouping” functions

What else is new?

• Key Copy Menu tab within Live Assist
• MediaStore Capture Page

For more information on Graphite v6.1, you can view our

For additional questions, please reach out to productionswitchers@rossvideo.com, or connect with our product team and other Ross product users through our .

The post Upgrade Your Switcher Experience appeared first on 91ÌÒÉ«.

As live production professionals continue to push the limits on their productions, it’s essential to have a dependable and efficient production switcher at the center of your workflow. However, with so many available options today, selecting the right switcher size to fit your specific needs can be daunting. Choosing a switcher that is too small may result in limited functionality and a lack of necessary features while selecting one that is too large can be expensive and cumbersome. Much like the popular children’s tale, Goldilocks and the Three Bears, this blog post will explore the question of what’s “just right” when it comes to production switcher size?”

Before we dive into that question, let’s be clear: “size” refers to the number of inputs and M/E banks, not the physical frame dimensions or the number of buttons on the control surface; operators rarely care about frame size and almost always want more buttons. So for inputs and M/Es, how “big” is “big enough?” While there are any number of factors that go into answering that question, here are just a few of the more obvious ones: 

What kinds of shows are being produced or planned?

• Studio-based news and talk shows generally require fewer sources and Mix Effect banks than remote sports or certain types of entertainment programs. 

How many sources are required?

• Closely related to the types of programs being planned is the number of sources, including key signals, that will be required. 

What’s the future growth forecast? 

• Planned expansions, perhaps over three to five years, should factor into the size calculations to ensure there’s enough “headroom” for the future. 

How experienced are the operators?

• It may sound counterintuitive, but less-experienced operators may require a larger number of inputs or M/Es to allow effects to be “parked” upstream. 

What’s the Budget

• Although we all like to drool over the biggest switcher out there, the reality is that size and cost are more or less directly related: the larger the switcher, the more expensive it will be. 

Given these and all the other variables that may be considered, it might seem that there is no perfect size but in fact, our market research indicates that a switcher with around 36 inputs and two or three M/Es often provides the best balance of size, cost, and power; in short, a switcher in that range is “just right.” 

Bigger Faster and More Powerful

When the Carbonite Development team was tasked with inventing “The Next Big Thing,” the number of inputs and M/E banks were certainly important considerations. Based on customer feedback, they knew that although Carbonite Ultra provides enormous capability in a very small 1RU package, it sometimes simply isn’t big enough. So
 

More Inputs: ✓  They also wanted to leverage the latest advances in hardware technology to produce a switcher that would provide powerful effects capability: 

Powerful CPU & GPU: ✓ And they wanted a switcher that provided a cost-effective upgrade path to keep pace with increased production demands: 

Expandable I/O: ✓ The result of their efforts is Carbonite Ultra 60, the latest iteration in the legendary Ross Carbonite switcher series. 

Although Ultra 60 can trace its pedigree back to Carbonite Ultra, it represents a departure from its older cousin in many ways. For one thing, it offers the largest input matrix of any Carbonite we’ve ever produced – up to 60 inputs in HD or UHD. It also features internal power supplies instead of power “bricks” which can make for a cleaner installation. And perhaps most importantly, Ultra 60 is the first modular Carbonite frame we’ve ever manufactured. Think expansion; as in “start smaller and grow as needed.” In fact, the 36-input/15-output version may hit the “sweet spot” for many facilities; big enough to meet current demand while still providing a means to add more ins and outs down the road. 

But despite the differences, under it all, Ultra 60 is still a Carbonite. Transition Keyers, MiniMEs, MediaStores, Custom Controls, UltraScene, and DashBoard integration are all still part of the package so operators coming from other Carbonites won’t miss a beat. In fact, they won’t even have to learn a new control surface since legacy Black and the newer TouchDrive panels are all compatible. They can even load Settings files from Graphite, Carbonite Ultra or Carbonite Black onto Ultra 60 and not have to rebuild Source Name tables, Button Maps and all the rest. (Figuring out what to do with all the time that saves is up to them
) 

When it was introduced over a decade ago, Carbonite created a whole new class of powerful, affordable, and operationally simple production switchers that redefined the notion of “mid-size.” Carbonite Ultra 60 continues that tradition while providing a larger and more powerful platform that for many facilities will be “just right.” 

About Tedd Tramaloni 

Before joining 91ÌÒÉ« in 2014, Tedd held a variety of positions at call-letter stations and with broadcast equipment manufacturers. He also freelanced for over twenty years as a TD and Replay Operator. You can connect with him on LinkedIn or at tedd.tramaloni@rossvideo.com.

The post Finding the Perfect Production Switcher Size appeared first on 91ÌÒÉ«.

In addition to the upgrades to the Carbonite and Acuity systems, the Graphite all-in-one production system with powerful video switching, audio mixing and graphics capability is now also available for cloud-based workflows.

Tech Talk Webinar

For the latest information about Ross Production Switchers, you can catch-up with our most recent Tech Talk Webinar.

v7 of Carbonite Ultra & Ultrix Carbonite – Now Available

Version 7.0 of Carbonite Ultra and Ultrix Carbonite is headlined by UltraScene, a new easy-to-use layering tool that enables complex composites to be managed as a single source. With UltraScene, up to 8 layers can be used to create visually interesting composites consisting of keys, chromakeys, DVE boxes, and more. UltraScenes can be entered into MEs and MiniMEs as Background or Key sources, just like any other source in the switcher.

UltraScene Explained

In addition to UltraScene, Production Sequencer functionality is included in version 7.0, and enables operators to automate simple and repeatable elements within a live production. As a convenient tool, Production Sequencer allows for a series of tasks, events or device controls to be linked together while complementing existing Memory and Custom Control macro capabilities.

Production Sequencer Explained

Finally, the all-new Screen Rotation Output Mode feature will be available for Carbonite Ultra. In this configuration, users can repurpose Frame Sync Format Converters to enable 3 output Screen Rotators. The Screen Rotators apply to outputs 12,13 and 14 and give you the ability to rotate outputs in 90° increments.

This function also allows operators to zoom in and position the video in X and Y space similar to how a 2D DVE operates. Screen rotators are ideal for on-set displays that have been rotated 90 degrees into portrait mode or with LED walls that don’t require rotation but do need the video zoomed and re-positioned to account for video gaps.

Ultrix Acuity compatibility with TouchDrive – Now Available!

The introduction of the TouchDrive control surfaces, featuring high-resolution touch-enabled LCD displays, provided Carbonite operators with unprecedented efficiency and ease of use. Now, TouchDrive control surfaces are compatible with Ultrix Acuity frames, allowing customers to pair their hyperconverged systems with Acuity or TouchDrive Control Panels.

The version 11.0 release for Ultrix Acuity also makes it even easier for customers to configure Software-Defined Production Engine blades with either Acuity or Carbonite software. Additional video operation formats are also included in version 11.0 to accommodate productions that implement lower frame rate UHD video modes.

UHD Format Support now includes: 2160p at 23.98 / 24 / 25 / 29.97 / 30 to go along with the already supported 50 / 59.94 and 60 formats.

To learn more about our complete lineup of production switcher solutions, visit rossvideo.com/live-production/production-switchers

The post New Production Switcher Upgrades appeared first on 91ÌÒÉ«.

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Please note: Full functionality of Graphite v.6.0 requires XPression v.10.55 or later. Systems that are more than 12 months old and not under XPression software maintenance will require renewal. The XPression Licensing Tool is available to check the software maintenance status. Please contact Ross for more information and assistance.

Audio, Audio and more Audio 

Monitor Mix Selector with User-Selectable Auto-Follow Mode 

Choose which Mix to monitor (Main or any Aux Mix) with Auto-Follow mode to instantly switch between Main and Aux Mixes. 

Simple Aux Mix Mode 

Easily set up post-fader, unity-gain Aux mixes with user-selectable Mute controls. 

Additional Noise Gate Controls 

Depth and Hold controls, along with an improved on-screen display layout, provide more granular control.  

Ducking Audio & Talkback modes 

Easily create custom audio “ducking” or IFB talkback controls. 

Navigation and Configuration Improvements 

Improved DashBoard Menu Navigation 

Logical grouping of Operation, Information, and Setup functions.

Live Assist button available on all screens. 

Media Cache Manager 

Easily clear files from MediaStore RAM cache for better memory management. 

DashBoard Device Configuration 

Easily configure external device control without the need for a physical or virtual control surface.

Learn More

These version 6 updates are now available through our software downloads page.  For more information, you can also view our updated

Graphite is an all-inclusive production vehicle that combines superb big switcher performance with visually stunning 3D graphics, instant access clip servers, and pristine audio clarity – all with the reliability of separate system components. If you’d like to learn more, visit rossvideo.com/graphite.

The post Version 6.0 feature updates now available for Graphite appeared first on 91ÌÒÉ«.

The CCTV broadcast – a national tradition in China – has featured Augmented Reality as part of its format for the last nine years and Ross has been a proud technology partner, supporting CCTV as the scale and complexity of the shows have increased with each passing year. This year’s broadcast featured more than twenty different scenes that were shot in 4K HDR using multiple cameras.

Ross Voyager

91ÌÒɫ’s Voyager graphics rendering solution (based of the Unreal engine from Epic Games) was again at the heart of the production as the audience was taken through a variety of different natural landscapes, including bamboo forests, mountains, deserts, the Great Wall and a spectacular martial arts sequence called ‘Heaven and Earth’.

This segment was particularly impressive given the volume texture method used by the Voyager rendering solution to produce clouds that had highly realistic thickness and texture in the physical space. In each of the twenty scenes featuring AR, the augmented elements were vivid, dynamic and realistic, with Voyager effectively blurring the edges between the physical sets and the computer-generated graphics.

Ross is proud to celebrate New Year with our friends in China and to be part of such a culturally significant TV event. CCTV were extremely self-sufficient this year and it was very satisfying to see the team produce such amazing visuals with only minimal input and support from Ross.
Our AR and XR solutions continue to push the boundaries of reality, giving audiences a rich and immersive experience and creating genuine ‘wow’ moments.

Learn More

For more information about 91ÌÒɫ’s Voyager graphics render platform, visit our product page.

The post Ross Voyager Powers CCTV Spring Festival Gala appeared first on 91ÌÒÉ«.