For nearly a decade before I joined Pixotope, I’d been pitching virtual production to Amarin TV.
Each time, they weren’t quite ready. The technology wasn’t there yet, the workflow wasn’t right. Something was always missing.
But their ambition never changed. They explored different vendors and technologies, always chasing the same vision: real-time graphics that could truly upgrade their storytelling.
Then I joined Pixotope as a Product Specialist and funnily enough, Amarin TV became my first proof-of-concept customer.
This time they said YES to virtual production and implemented our graphics and tracking fully.
For a context: Broadcast in Thailand is brutally competitive. Everyone's fighting for audience attention, and commercial revenue is everything.
Amarin TV comes from magazine publishing. When they launched their TV station, their commercial production workflow was unsustainable. A single House & Garden ad meant hauling real plants into the studio — and throwing everything away afterward. They knew something had to change.
Virtual production became an obvious answer. Instead of simply placing logos on green screens, Amarin TV found their edge by embedding commercial storytelling directly into their news programs using hyper-realistic AR and virtual set graphics.
In other words, they create full commercial experiences that feel native to the content, keep audiences engaged, and — most importantly - drive revenue while reducing physical labor and set costs.
Mr. Aphichart, Chief of Technical at TV Amarin
Mr. Aphichart, their Chief of Technical, put it even more bluntly:
"Pixotope is not just a beautiful tool. Pixotope is a money maker."
Their competitors often must discount heavily because they can't match Amarin's creative commercial execution.
Now, let’s talk about their technical setup as I am sure you are curious about it.
Amarin TV is running a serious operation:
6 camera tracking systems
8 Pixotope graphics engines (4 main, 4 backup)
Full AR and virtual set production workflow
Daily use for news enhancement and commercial tie-ins
They're pushing the system hard every single day. One of their biggest operational advantages?
They can switch between completely different virtual sets in real-time with zero downtime between shows.
News looks like news, entertainment looks like entertainment, and they can deploy different advertising environments that match each program's type.
That flexibility is what makes their commercial integration model actually work.
Not everything was smooth sailing. Early on, they had tracking stability issues because the camera mounting wasn't quite strong enough for their specific setup.
Instead of calling it a failure, Amarin TV's team designed and fabricated their own custom mounting solution. We worked together remotely to re-mount and re-calibrate everything. Since then, their camera tracking has been rocked solid.
Another challenge they faced was keying out green-screen backgrounds while keeping certain green objects visible. For example, their major sponsor’s products, which are all green, needed to appear in the scene without being keyed out. In broadcast graphics, we call this “Key Green on Green.”
Their core problem was that almost every product from this sponsor shares the same green as the background, so traditional keying would remove the product from the scene. This challenge led us to improve Pixotope’s keying capabilities, enabling precise control over specific areas, so AR and virtual set elements could coexist seamlessly with green objects in the foreground
They submitted the feature request, and our engineering team got it done. It shipped in Pixotope 25.2, about six months after they asked for it. Now it's part of their daily workflow.
When I spoke with one of Amarin TV’s Unreal artists, Mr. Burapha, something he said was really stuck with me. Commercial clients often arrive without a clear vision. Using Unreal Engine with Pixotope, he can quickly pull up global references, show what’s possible, and iterate in real time - live in the room.
Because they’re using Pixotope Talent Tracking, presenters aren’t stuck inside a green-screen box. They move naturally through space, interact with virtual elements, and the system follows them. That natural movement is part of what makes their commercial storytelling feel native instead of forced.
The improvement from their early days to now has been massive. They’re no longer just operating the system — they’re creatively challenging themselves and winning clients because of it.
Before sharing any feedback with me (both what works well and what we could do better):
"We're not unhappy. We're not planning to change vendors. We're sharing honestly because Pixotope is important to our business." Out of 365 days, we're happy for 300+ days already."
In broadcast, where everything is live and stakes are incredibly high, being happy over 80% of the time with your core production technology is remarkable. I’m genuinely proud that we’ve achieved that. They told me they’ll continue using Pixotope and renewing their yearly support, because Pixotope is a critical to their operation and commercial strategy and their Chief of Broadcast, Mr. Rungroj, told me tell me something I’ll never forget:
“Pixotope is our weapon in Thailand’s competitive broadcast market.”
After nearly ten years of conversations, experiments, near-misses, and persistence, hearing that felt more than a business win. It felt like validation of a shared belief in what broadcast storytelling could become.
This visit reminded me why I love working in this industry: it's not about selling technology.
It's about enabling creativity and business success.