Amplium Captures Kawasaki Brave Thunders Game with Blackmagic URSA Cine Immersive
New Apple Immersive Video brings viewers courtside for Japanese basketball game.
Blackmagic Design today announced that Amplium, an immersive video platform provider for Apple Vision Pro, captured a Kawasaki Brave Thunders home basketball game using two Blackmagic URSA Cine Immersive digital film cameras. The project was produced in collaboration with Concent, Inc. and is being released as limited access promotional content for the Kawasaki Brave Thunders on Amplium’s platform.
Amplium develops and provides an encoder and distribution platform dedicated to immersive video for Apple Vision Pro. The platform exclusively supports content captured with URSA Cine Immersive, and its exceptional image quality has been highly praised by users.
Concent Inc., which coproduced the project, operates an immersive imaging team led by Creative Director Toru Watanabe, who specializes in visual direction, stereoscopic imaging and immersive media. The team has delivered projects across a broad range of fields, including film, medical, education, tourism, and social initiatives.
Hibiki Sato, CEO of Amplium, said, “When we introduced the Kawasaki Brave Thunders to sports in Apple Immersive Video, they immediately recognized the potential. We wanted to deliver a compelling experience in Japan, one that feels as real as being in the arena. Apple Vision Pro and URSA Cine Immersive enabled that level of realism.”
The production used two URSA Cine Immersive cameras positioned at multiple locations throughout the game, including near the basket, by the team’s benches, and on court during select moments such as player entrances and the end of game handshake line, capturing a wide range of immersive perspectives.
“We were able to position the cameras in locations that gave viewers a true courtside perspective,” Sato said.
From the technical side, Watanabe commented, “The goal was to let viewers experience game highlights through Apple Immersive Video. Rather than shooting continuously from fixed positions, we changed the camera positions each quarter to capture different viewpoints. This allowed us to record close up bench action, including coaching direction, as well as on court opening moments where viewers can stand virtually among the players.”
Watanabe added, “URSA Cine Immersive is highly mobile and fast to deploy because it does not require constant fine focus and parameter adjustments. We were able to bring the cameras on site and begin shooting immediately. With a minimal accessory setup, a single operator can handle transport. Battery changes were minimal, and even with frequent camera moves, production proceeded smoothly.”
Post production was completed using DaVinci Resolve Studio. Editor Shota Iwami from Concent said, “Because of the large volume of material, I edited with proxy media, exported for review on Apple Vision Pro, and then returned to the original resolution for grading and finishing. Immersive video requires a different workflow, but it did not significantly increase overall edit time compared to conventional 2D projects.”
“To preserve the authentic atmosphere of the game, we avoided heavy stylization and focused on natural white balance, contrast adjustment and noise reduction.” Iwami added.
Sato concluded, “I’m confident that the day will come when many people can enjoy an immersive, electrifying viewing experience from home, as if they were actually in the stadium. And essential to making that vision a reality is URSA Cine Immersive.”
To learn more about Amplium, visit: https://home.theamplium.com/ and to download, visit: https://apps.apple.com/app/amplium/id6612011166
To learn more about Concent, Inc., visit: www.concentinc.jp/
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