Starting Pixel Live 24’s session with Thomas Doukinitsas was a deep dive into virtual production’s impact on broadcast journalism, with Doukinitsas from BBC News sharing insights from his work in augmented reality (AR) and real-time graphics in news environments. In a presentation mixing technical expertise with stories from recent broadcasts, Doukinitsas highlighted how the BBC’s news production teams are incorporating VR and AR seamlessly into their broadcasts, making complex stories accessible and visually engaging for global audiences.
Doukinitsas’ background spans both motion graphics and virtual production. Having started in regional TV in Greece, he moved to London, eventually joining BBC News where he used his skills in visual effects and motion design to craft real-time graphics and dynamic visualizations for news programs. A prominent example was his use of AR in BBC’s Studio B, where laser-scanned sets allowed for highly realistic, rapid-turnaround graphics. “With AR, you’re able to show the scale and detail of events like the Titan Submersible disaster,” he noted, emphasizing the fast-paced demands of news graphics, often turned around in days or even sometimes hours.
Case Studies: From the Moon to the St. Edward's Crown
One of Doukinitsas’ standout projects was Return to the Moon, a VR exploration of NASA’s Artemis mission, broadcast on BBC iPlayer. Using real-time graphics, the team created dynamic visualizations of the moon and space travel, designed to simplify complex scientific information. Facing the challenge of depicting scale, the BBC team used minimalistic graphic designs—like a simplified rocket model with clear labels—to keep the visuals effective without overwhelming viewers.
In another project, the team designed an ultra-detailed 3D model of the British royal crown for King Charles III’s coronation. Using Cinema 4D, Thomas's colleague Ammar Al Yasiri crafted the model’s every detail, down to the color of individual gems. However, for the crown to be accessible across platforms (from mobile to television), Doukinitsas had to compress the model drastically—from 1.2 GB down to 2 MB—while retaining visual integrity. “It took two weeks and endless optimizations,” he recalled, describing the challenges of translating intricate 3D models for web and social platforms.
Live Election Graphics: Real-Time Data Driven Graphics.
Perhaps the most demanding project, Doukinitsas noted, was the BBC’s general election coverage, where real-time graphics visualized election data across multiple BBC platforms. The graphics needed to be responsive, data-driven, and capable of being called up in any sequence—a feat that required extensive planning and data integration. The team used a mix of XR and LED screens for the live broadcast, dynamically illustrating changing electoral maps and voting trends. “The biggest challenge,” Doukinitsas admitted, “was creating graphics that could adapt instantly to incoming data while still providing an engaging experience for viewers, and also running the graphics in real time”
Virtual Production’s Role in Journalism’s Future
Doukinitsas wrapped up by underscoring how VP is transforming broadcast journalism. By enabling a flexible storytelling approach, AR and real-time graphics allow news organizations to convey complex information in visually accessible formats. While VP’s role in broadcast differs from its use in film and television, Doukinitsas believes it’s an essential tool that can help with the storytelling process.
Thomas can be found here: www.linkedin.com/in/doukinitsas
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