| TriCaster Live Virtual Sets |
Typical Virtual Set Systems |
Physical Sets |
| ✓ |
Cost-effective alternative to physical sets for live production |
✗ |
Often expensive and complex for live production, or limited to post-production compositing |
✗ |
Expensive to build, change and maintain |
| ✓ |
Easy for anyone to use with no additional crew |
✗ |
Usually require a skilled operator, technician or engineer |
✗ |
Require technicians, engineers, and multiple crew members |
| ✓ |
Require little setup and space – only a small green screen or solid color backdrop and basic lighting |
✗ |
Some require large, dedicated space, green screen cyclorama, extensive setup and system configuration |
✗ |
Require dedicated location, careful planning for every camera angle, extensive setup and supporting equipment |
| ✓ |
Complete freedom to move, use and replicate from any production location |
✗ |
Typically restricted to a fixed, pre-configured location with
specific lighting requirements |
✗ |
Restricted to the dedicated location where physical set and supporting equipment reside |
| ✓ |
Life-like virtual environments with realistic foregrounds and backgrounds, motion elements, real-time reflections, shadows and specular highlights |
✗ |
Flat 2D backgrounds or 3D models with overly artificial appearance and limited options for motion |
✗ |
Significant material investments and expensive electronics, plus networking and cabling required to incorporate visual display and motion elements |
| ✓ |
Variety of settings, set locations and presentation options, including box effects |
✗ |
Usually confined to a single, static 2D or 3D model |
✗ |
Fixed set locations with additional DVE equipment required in order to increase presentation options |
| ✓ |
Multi-angle virtual sets allow for distinct presentation areas and content-specific locations for program segments (ex. news, sports, weather, interviews, etc.) |
✗ |
Basic 2D backgrounds that do not provide variable set locations or 3D models that require complex configuration and intricate operation to move between locations |
✗ |
Require construction of distinct set locations to accommodate different looks and arrangements |
| ✓ |
Easily swap out elaborate set designs to accommodate different programming types (news, sports, talk, tech, entertainment, etc.) |
✗ |
Limited set designs, extensive reconfiguration, or additional purchase required |
✗ |
Changing set design involves additional construction and arrangement |
| ✓ |
Configure camera angles and trigger free-form, animated camera movements (zoom, pan and scan, tilt and pedestal) without touching cameras |
✗ |
Fixed angles only, or physically move and adjust cameras |
✗ |
Fixed angles only, or physically move and adjust cameras |
| ✓ |
Up to 4 live channels per set and capable of compositing multiple live and stored sources together |
✗ |
Typically involve per-channel purchase and require talent to be live and on camera |
✗ |
Require talent to be live and on camera |
| ✓ |
Combine and freely position live, on-camera talent and stored sources in 3D virtual space, without physical movement of cameras or talent |
✗ |
On-camera talent confined to fixed position in front of a 2D rendered background or digitally positioned in 3D virtual space by moving cameras manually |
✗ |
On-camera talent restricted to fixed position on-set and cameras moved manually within limited physical space |
| ✓ |
Easily create custom sets using NewTek Virtual Set Editor software (sold separately) |
✗ |
Require 3D graphic artist to build new sets or per-set purchase from third-party companies |
✗ |
Require additional construction and space to build new sets |
| ✓ |
Capture panoramic images of real-world locations with a smartphone and transform into photorealistic 3D virtual space
(requires Virtual Set Editor) |
✗ |
Most restricted to 2D rendered backgrounds or 3D studio models |
✗ |
Restricted to studio location and aesthetics |
| ✓ |
Included with TriCaster, making it possible to produce from a virtual set right out of the box |
✗ |
Typically require separate purchase and additional integration with production gear like robotic camera systems and motion tracking hardware |
✗ |
Require construction, material investments and operational costs that affect lead time and increase overall production expenses |