Augmented reality places computer-generated objects into a live camera shot of a real space, so they appear to sit inside the physical scene on screen.

Unlike a virtual set, the real studio and presenter stay visible; the graphics are added on top and locked to the camera's perspective, so they hold their position and scale as the camera moves. 

Three things happen at the same time. The system tracks the camera's position and lens so it knows exactly where the camera is pointing. It holds a digital twin, an invisible 3D model of the real set, so virtual objects can pass behind real walls or sit correctly in front of them.

And it renders the graphics and composites them into the video feed frame by frame, so the result is broadcast-ready live with no post-production. In Pixotope, rendering and compositing run in a single pass, so shadows, reflections, and translucency add no extra performance cost. 

 Broadcasters use augmented reality (AR) to add information and spectacle to a live shot without rebuilding the studio.

Typical uses are data and results graphics in news and elections, weather visualizations, player stats, virtual performers and stage elements in entertainment, and branded objects that open up new sponsorship inventory. 

Cost depends on the scale of the production: the number of cameras, the complexity and detail of the virtual elements, and the licenses you need.

Pixotope is sold on a subscription model rather than a large one-time purchase, which lowers the entry cost and lets you scale up or down per project.

For a figure against your own setup, book a demo and we'll talk specifics. 

You need a camera tracking system to keep the graphics locked to the shot, a workstation with a professional GPU, and professional video I/O.

Pixotope runs on standard off-the-shelf hardware rather than proprietary boxes, and works with its own tracking (Fly, Vision, Marker, and Zone) or most third-party tracking systems.