Moov completes AR graphics project for Racing TV

When Racing TV wanted a new studio space that took inspiration from the physical set it had previously but with a futureproof look, it worked closely with Moov to ensure the new space ticked all the boxes.

Moov implemented a realistic 3D virtual set using Unreal Engine 4 and Brainstorm Infinity Set in January 2020 using Mo-sys star trackers for camera tracking which ensured robust tracking all over the studio allowing free movement within the space.

There are three main areas in the studio, so each show looks and feels different and makes use of the smaller studio footprint.

Moov worked closely with production to allow the studio to be controlled like a real set using virtual video walls so content and video feeds can be used to support the on-screen talent.

In July 2022 Moov began to put together an AR proposal for Racing TV which would allow them to use data-driven bespoke AR graphics built within the current VR set. Once agreed, the design process began, something which proved a challenge due to the amount of information that was needed within each graphic.

The process began by looking at the virtual space and making sure the graphics worked within it, creating sketches and block models with animated sequences. The aim was for an elegant and stylish design, but most of all it had to be simple in its approach.

As this was Racing TV’s first AR graphics there were many things to consider from a technical real-time perspective. The aim was to create graphics that were flexible in their presentation of data and would utilise as much of the studio space as possible.

The designs are located next to the desk which allows both sit down and stand-up positions so the talent can walk around and interact with the AR graphics, adding another level of visual interest for the viewers.

“The presenter can engage with new graphics as they will feel that they are a physical part of the set and with the odd hand gestures (pointing at them when they animated and ‘watching’s the graphics reveal from the floor) and even a walk and talk in front of the new graphics it can bring the data to life and engage the viewer,” said Martyn Richards, Racing TV director.

The graphics contain a lot of data, and a solution had to be found for updating text fields, images and graphic positions effectively. The data being input into the graphics is controlled via Moov’s bespoke in-house software, which talks directly to the Racing Client database.

The custom software needed on this project requires bringing in racing data from the client’s existing systems used for on screen graphics and serving that to AR graphics built natively in Unreal Engine 4. The operational requirement was to have a single control system for all the AR graphics, whether they were driven fully by data or manually prepared content. This required Mood to build control software to bring together data and allow operators to supplement that data with additional editorial content, as well as allowing for fully manual content to be available all from the same control software.

The new AR-specific graphics control system had to work alongside the existing virtual studio implementation, which uses third-party systems to run. Moov’s real-time creative team designed a workflow using native Unreal Engine features that allows users to control elements built in-engine, without using additional third- party tools. This workflow included a number of additions to Moov’s Constellation software development libraries and toolchain.

The most significant challenges came from either ends of the overall workflow. On the one hand, Moov had to integrate with an existing data pipeline and infrastructure, without being able to make wholesale changes to any infrastructure. On the other, anything that was required by operators when controlling AR graphics had to be built into Moov’s custom control software. This included everything from populating data, playing in and out, right up to configurable per graphic positional information

The biggest challenge for the real-time team was finding a solution to create 2D graphics that can be projected onto curved 3D surfaces, with animation designed from the creative team. Not only was the graphic to animate out of the ground, but the individual data rows also had animated wipes. This meant two technical solutions that worked well together were needed. Understanding this process was a challenge however an effective workflow was created meaning the whole build process was completed faster.

Moov then needed to demonstrate that the bespoke software could send data directly to Unreal Engine and trigger animations the real-time team had made.

Due to the client’s daily use of their infrastructure, Moov had to ensure that testing was as close in setup to the production environment as possible. It used example data from the client’s system, multiple Unreal Engine instances and its new playout software, hosted in a similar network environment.

With a new control system, the key was to not only systematically test control of each graphic, but also test workflows for using graphics in sequences as would be expected in production. The most important aspect of testing was to have experienced operators test the system. They were able to give valuable insight into how they would use the system, which allowed Moov to iterate rapidly on updating features before signing off the project.

“We would be hopeful of expanding our use of AR and using new ideas across all of our sets and different shows with the possibility of using some extra movement in our cameras via use of a small studio jib or likewise and eventually maybe a rejig of our virtual studio as and when the current set up gets a bit ‘tired,’ adds Richards.