THE PANEL
Rene Amador Co-founder & CEO, ARwall
Miguel Churruca Marketing and communications director, Brainstorm
Grigory Mindlin GM of broadcast, Disguise
Luis Garrido Executive director, Alfalite
HOW IS XR TRANSFORMING STORYTELLING AND AUDIENCE ENGAGEMENT IN BROADCAST AND MEDIA?
My team have been leaning into this by partnering with producers on their projects, hiring development experts and launching a production shingle, Glowcraft. I think we’ll begin to see many successful productions coming out of teams whose operational mandate is to create content that fits the tech, and tech that fits the content. GRIGORY MINDLIN: XR is revolutionising storytelling with interactive experiences that engage audiences like never before. Instead of passive viewership, it enables deeper emotional connections through virtual environments, augmented reality overlays and real-time data visualisation. Sports broadcasts now integrate 3D recreations of key plays, while news channels such as TF1 use XR to enhance reporting with virtual event reconstructions. These innovations make content more dynamic, informative and engaging, shifting audience expectations toward more personalised, immersive media experiences. The true power of XR lies not just in the spectacle, but in its ability to bridge the gap between the viewer and the narrative. Fully engaging viewers by creating more immersive broadcasts requires a robust, adaptable infrastructure to ensure these experiences are seamless and scalable. MIGUEL CHURRUCA: Understanding it as displaying 3D in LED volumes and virtual production in general – including AR and XR – allows content creators to enhance storytelling, therefore improving audience
RENE AMADOR: There are three promises provided by extended reality virtual production in media production that we’re trying to keep: reducing time in pre-production and per camera set-up, increasing creative control and lowering operational costs. This year, technology has caught up to the point where we’re successfully delivering on all three of these aspects, and the method was by having the virtual production teams have significantly more control during the concept creation process. Development has become so overwhelmingly cost-orientated that optimising for the tech is now altering what content is made.
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