![]() Gave points out that the virtual Hype Chamber environment can also be leveraged for a multitude of use cases beyond the broadcast itself. “The Hype Chamber allows for viewers to feel more immersed by creating a transition space between the real and virtual worlds, where the sport and content of the broadcast are meant to complement each other.” “The existing paradigm for esports broadcasts uses a back-and-forth between in-game footage and more traditional 2D screens, and live action can sometimes feel disconnected,” he says. What does all this mean for aficionados of RLCS (and esports audiences in general)? For Jasveer Sidhu, Art Director at Capacity Studios, the new studio brings fans and the game they love so much closer together. Teams are stationed on either side in front of a life-sized in-game Octane, which is often sporting a team skin, with the hallway out to the field in between. This led to the development of a physical studio space that uses real LED screens fed by outputs from the Unreal Engine scene to recreate the environment on stage. Very quickly, the Rocket League Esports team wanted to take the concept of the Hype Chamber and build it for real-enabling the teams to play their matches inside the virtual environment. A virtual space created within Unreal Engine, the concept was designed as a launching point to reimagine what a sports broadcast might look like for a digital-first audience. The Hype Chamber started out as a motion graphics package that was used to introduce the RLCS teams and matches. “This is huge for us, because we'd change out colors and assets constantly last year-so doing this all in real time as opposed to hard-baking in every single graphic element we create is super efficient.” “Now, because of how we’ve templated out everything, anyone on my team-graphic designer or not-can go in, download the build, transition between over 1,000 combinations of assets, and create high-fidelity broadcasts,” says Lanier. This has made all the difference to Psyonix, enabling them to handle complexity in a way that wasn’t previously possible. “With the way we’ve set up the Hype Chamber in Unreal Engine, we can quickly swap out logos and modify color palettes, and instantly have new high-quality assets ready to go for that weekend’s broadcast,” says Ellerey Gave, Executive Creative Director at Capacity Studios. ![]() ![]() The answer: a flexible, real-time broadcast graphics package brought to life through a collaboration between Psyonix, the Unreal Engine team, Capacity Studios, and ESL Gaming. In traditional pipelines, this would either equate to significant additional work and rendering each time a new team is added, or it would lead to the add-on teams receiving less special treatment than the established teams. In addition to having various sponsors and themes to work with, the open format of the league means there are usually new teams competing weekly. “We rebuilt each broadcast package for all of these shows and were running into workflow issues on creating new assets about every two weeks.” “Working with Lamborghini, Ford, Verizon, Pele, X-Games, and others, we didn’t want to just slap a logo on the broadcast and call it a day,” says Cory Lanier, Esports Product Manager at Psyonix. That drove the team to experiment with a real-time approach to create the broadcasts for the new season. ![]() With the tournament growing in scope year over year, Psyonix had started to face some complex challenges. This format did away with league play in favor of teams earning points through three regional splits, all culminating in three seasonal majors. Rejuvenating the Rocket League Championship Seriesīack in 2020, Rocket League developer Psyonix announced a new format for the tenth season of RLCS, known as RLCS X.
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