Virtual Production & Live Graphics
Place live graphics and data in the real scene.
Lecen’s AR and broadcast graphics solution connects camera tracking, 3D graphics, business data and video compositing for sports, studios and live events. Spatial placement and on-air timing are planned together so scores, models and explainers support the programme.
Product brand: Lecen Technology
Project goals
AR must be spatially aligned and operationally controlled. The design separates coordinates, graphic templates, data checks and operator cues. Camera video and rendered graphics meet at the compositing stage while operators retain the ability to preview, correct and remove on-air elements.
In focus
Moving-camera workflows update graphics from position, orientation and lens information. Fixed views use a defined scene reference. Evaluate pans, moves, zooms and edge framing rather than one static composition.
Scores, names and statistics come from an agreed source or manual input. Configure parsing, validation and graphic playout separately so an incorrect update does not automatically become an on-air graphic.
Talent awareness can drive occlusion or zone triggers; prop tracking can anchor virtual objects. Choose AI GLUE, Follower or other components around the intended interaction, not as mandatory additions to every AR project.
Define preview, take, correction, removal and exception handling. Match internal compositing or external Fill/Key outputs to the downstream switcher, signal format and timing.
Workflow
Video, tracking and business data enter different stages. The production workflow coordinates them into controllable on-air content.
Collect camera video, tracking and approved data.
Apply scene coordinates, lens information, values and animation.
Verify the graphic and combine it through the chosen path.
Select the program output and retain removal and fault procedures.
Integration
Test templates, data and camera changes together rather than validating a still image alone.
List graphic types, fields, on-air cues and operators.
Align tracking, lenses, rendering, compositing, format and reference.
Handle long names, empty values, corrections and field validation.
Exercise cuts, updates, removal, signal loss and recovery; document operations.
Configuration
| Content | Live graphics, 3D models, data visualization and spatial AR |
|---|---|
| Cameras | Fixed views or tracking selected around camera movement |
| Graphics layer | Program-specific templates, animation and interaction |
| Data layer | Authorized feeds or operator input |
| Output | Internal compositing or compatible external Fill/Key workflows |
| Handover | Template rules, connections, operating cues and exception procedures |
Applications
Present scores, lineups, tactics and statistics around camera framing and commentary.
Connect charts, virtual objects and presenter positions for clear explanations.
Bring product models and data into live shots with rehearsed presenter cues.
FAQ
A fixed shot can use a defined fixed perspective. Spatial AR with a moving camera normally requires corresponding tracking and lens alignment.
No. Sources, fields, rights and update methods are defined for the project. A rendering system is not itself a sports-data provider.
A lower third usually stays in screen coordinates. Spatial AR maintains a relationship to the scene and camera. A program can use both.
Choose the method around the interaction. Talent position, marked props and full skeletal motion are separate tasks.
Validate alignment, field contents, data timing, compositing format, camera cuts, removal and recovery. Redundancy can be designed separately for critical programs.
Project brief
Program rundown, graphic examples, data fields and interaction script.
Cameras, lenses, switcher, inputs, outputs and reference.
Data sources and rights, operators and correction requirements.
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