The benefits
On the one hand, we have the benefit of saving space, already
that you do not need a study of a hundred meters but one of just
five; all the remaining meters that you can reach
need to be mounted now on some hard disk of the
system you choose to work with.
Another important benefit is that the space previously intended for props and scenography may be employed now for more productive purposes.
On the other hand, we have the speed and adaptability, since we can go from a hectic news studio, to a warmer and more intimate environment for a opinion program, or even create a Japanese tea house for a special oriental cuisine. All this just by giving the real-time order.
Creativity is another benefit that becomes relevant at the time of deciding on this alternative, since we will never again be limited by difficulties of the real world. Why not have a robot that walks around the study during the children's strip, or a tree in the middle of the set for the yoga program?
Finally, we could do accounts of the meaning in money of profits mentioned, accounting for savings in construction, maintenance and storage of traditional scenarios, adding the cost of maintaining large studios, and even, adding the displacement of actors and teams up to other types of locations, which would no longer be necessary.
What we should expect
of the virtual future
Surely you will wonder suspiciously about
what, if this technology has so many benefits, has not been
applied in a more generalized way in our region. The
It is true that there are many answers to this question. Maybe
that the capabilities of this are not sufficiently known
technology, or that channels don't know where to start their
application; it may be that they distrust (perhaps rightly so)
the capabilities to achieve hyperrealism, or that simply
they don't know what to do with all the infrastructure that would become
unnecessary. The truth is that the change has already begun and although
there is no need to fear a total replacement of the system
traditional by the virtual, should not be strange for
we that a significant proportion of the production does
Do.
Back to our concept initial, where the purpose is the delivery of an experience believable visual that keeps us tied to a story, we find that there is still much to be done and that the challenge for the companies that manufacture solutions in virtual sets is not easy, especially when the average viewer is every time. once again trained to differentiate a virtual object from one real, and that with time and experience will be a spectator even more demanding.
Despite progress on issues specific, such as radiosity reading and synchronization, and expansion to HD, there are important details that surely will take some time to be resolved, such as the absence of realistic shadows and reflections of objects on the actor and vice versa, or automatic leveling of saturations and noise between one sign and the other, which do not make the difference between the real and the digital. We still have to wait a little more to stop talking about virtual sets and start talking about virtual locations.
However, these can appear to be less detailed than the current benefits than the System brings for any company that makes content on real time. These advantages are significant for anyone channel structure, but especially for those with limitations, such as small channels, local stations or the production companies, for which there are no longer obstacles in the production of quality content in real time, and for where the future puts competitive advantages at your disposal.
We already know it's time to catch up, that the future of television production is in the complement that this type of technology brings to the current scheme. Now, companies that are not updated or that simply remain oblivious to these changes, they could be making the same mistake that Amélie Poulain tells us about: driving without looking at the road.
