Gamechanger virtual production forces a new era of television

The explosion Sit with Nimrod Harel, Mentalist and co -founder of GamechanerTo discuss how to revolutionize the future of the future TV production.

Through a background in formulating psychological and visual illusions, Harel now applies his unique experience to the world of virtual production, eliminating green screens, physical groups, and enlarged budgets in favor of elegant and cost -effective technology that provide images at the level of impurities.

After playing many games shows, Gamechanger quickly reproducible reinterpreted the entertainment scene as we know it.

For Nimrod Harel, delusions have always been the second nature.

“The illusions of my life were from the age of six or seventh.” The explosion. “I started very early to do this. But basically, Gamechanger takes my hobby and my profession to the maximum in a completely different field.”

As a veteran mentally, Harril knows something or two about deception, except for now, instead of the stage and lights, its fabric is the advanced virtual production technology.

“When you see a mental world or an expert in illusion, you know that you are witnessing a kind of magic. You may not know how that is done, but you understand that you are deceived,” explained. “With Gamechanger, the illusion is not flawed because you do not even know that you are deceived.”

This is the magic behind technology. By removing the green screen and material restrictions of traditional groups, Gamechanger creates completely immersive environments that the audience accepts as real, without questioning the mechanics behind them.

What really distinguishes Gamechanger is not only its elegant images or overwhelming collections, it’s a patented and patented technology.

“This is a patented technique and a patented method, and it is completely new,” he told Harril The explosion. “We are blue. We do not have competitors in this field.”

One of the prominent examples comes from Portugal, as Gamechanger helped bring “The Pigy Bank” to more than 300 episodes. Production is characterized by the images of the drop -off: a tall platform where the host and the contestant stopped, large moving parts decrease through a magnetic stage, and family members who watch from future centuries, all surrounded by a huge oval LED screen.

“This is the largest offer that has been broadcast in Portugal in terms of the value of production,” said Harreel. “From a cost perspective, it is one of the most inexpensive offers ever. The difference is crazy. For this reason we call Gamechanger.”

Two shows working in Gamechanger recently on the GSN, one of them “Bingo Blitz”, where the 30 -foot virtual Bingu, is the axis.

“This is the most beautiful and largest television production we have seen ever,” Harrell said. “And you don’t even wonder how this was done. Illusion is perfect. So, I still do delusions, just a kind of illusion.”

“If you want to shoot something like this in real life, you are not sure of the presence of a big studio enough in the United States to accommodate it.” “But we do not need it. Everything is an illusion. Even close, looks pure.”

This realism is achieved without one green screen on the horizon. “Green screens will always look like green screens,” said Harreel. “It’s not good enough for Primetime TV, unless you have budgets at the Marvel level to clean each pixel. We do not use the green screen at all.”

Instead, Gamechanger follows a pioneering approach after production. There are no special devices on the group, no additional risks, and no disruption in the shooting. “We tell the producers: Do your offer. Shoot on the way you usually do. Then we come and make magic,” explained Harreel. “All CGI assets are performed in programs, so when the editor enters, it appears to edit a width in a huge and amazing studio. They don’t even realize that it was not real.”

Producers, who are concerned about new technology due to cost and complexity, can breathe easily. “For them, we are not visible,” said Harrell. “This is one of the biggest breaches. This changes the game.”

Another example is “Tic Tac Dough”, the iconic show that dates back to the fifties. “They have asked us to do a cosmetologist,” Harrell said The explosion“Now we call it a scene.”

Gamechanger has been delivered with a huge LED screen, a network that moves and rotates, and it appears to be dancing during the show. “Without technology, you can create offers. But with it, you can create glasses,” he added.