Augmented reality in Spanish television: the case of
Antena 3
News
La realidad aumentada en la televisión española: el caso de Antena 3 Noticias
doxa.comunicación |
nº 34
| 33
January-June of 2022
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
He
rrero de la Fuente, M. and Jiménez Narros, C. (2
022).
Augmented reality in Spanish television: the case of Antena 3 News.
Doxa
Comunicación
,
34,
pp. 33-53.
https://doi.org/ 10.31921/doxacom.n34a1041
Mercedes Herrero de la Fuente
has a PhD in Information Sciences (Journalism) from the Complutense University
of Madrid. She is an accredited Professor at the University of Nebrija, in the undergraduate and graduate levels. At
that university she has been Director of the Master’s Degree in Digital and Data Journalism and the Master’s Degree
in Television Journalism. She is a member of the research group InnoMedia (Nebrija). She is part of the R&D project
nanced by the Ministry of Science and Innovation PID2019-105398RB-C21, “Disability and Digital Competences in the
Audiovisual Sector”. Her research lines are new technologies and their application in the audiovisual eld. She has been
reserach fellow at Cornell University (U.S.A.), Saldford University (United Kingdom), Radboud Univesiteit (Netherlands)
y Karlova Univerzita (Checz Republic).
University of Nebrija, Spain
[email protected]
ORCID: 0000-0002-5361-9056
Carlos Jiménez Narros
has a PhD in Information Sciences (Journalism) from the Complutense University of Madrid. He
is the Research Coordinator and member of the Nebrija InnoMedia group. He is an accredited Professor at the Faculty
of Communication and Arts at the University of Nebrija in the area of graphic design. He is part of the R&D project
nanced by the Ministry of Science and Innovation PID2019-105398RB-C21, “Disability and Digital Competences in
the Audiovisual Sector”. His research lines are new technologies, graphic design, teaching innovation and specialized
information.
University of Nebrija, Spain
[email protected]
ORCID: 0000-0001-8311-0261
Abstract:
Augmented reality (AR) has been revealed to be a resource that is
increasingly being utilized to transmit the latest news. e main
television operators in Spain have already started experimenting with
this tool, with the case of
Antena 3
being the most striking, as it has
habitually incorporated it in its news programs. e present research
study analyzes the use of this technique, starting with a signicant
corpus of narrated news with the support of augmented reality from
the set itself. e method establishes a formal pattern based on the
ad hoc
design of a matrix on which a starting classication of the
Resumen:
La realidad aumentada (RA) se revela como un recurso cada vez más
utilizado para transmitir la actualidad informativa. Los principales
operadores de televisión en España experimentan ya con esta herra
-
mienta, siendo llamativo el caso de la cadena Antena 3, que desde 2018
la incorpora de forma habitual a sus informativos. Esta investigación
analiza el empleo de esta técnica a partir de un signicativo corpus de
noticias relatadas con apoyo de la realidad aumentada desde el propio
plató. El método establece un patrón formal basado en el diseño ad hoc
de una matriz sobre la que se ha sistematizado una primera clasica
-
Received: 13/07/2021 - Accepted: 25/10/2021 - Early access: 05/12/2021 - Published: 01/01/2022
Recibido: 13/07/2021 - Aceptado: 25/10/2021 - En edición: 05/12/2021 - Publicación: 01/01/2022
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| nº 34, pp. 33-53 |
January-June of 2022
Augmented reality in Spanish television: the case of Antena 3 News
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
1. Introduction
In a media ecosystem conditioned by new technologies, the traditional media have adapted, more or less successfully, to this
new and constantly changing ‘liquid’ context (Bauman, 2005). e competition for capturing the attention of the audiences is
now more intense than ever, and in the area of the news, the overabundance of news outlets forces the administration of the
content to be more ecient (Simon, 1971). To achieve this objective, the media –and especially the television stations- rely on
digital resources that allow for more attractive and interactive formats (Scolari, 2013). Among them, we nd virtual reality (VR),
which has moved beyond being just another tool for articulating the informational discourse, so that “numerous media outlets
have thought of it as another opportunity for developing an innovative manner for telling stories” (Barreda, 2018: 1107). In Spain,
Antena 3
, betting for the formal innovation that denes its trajectory in the last few years (Herrero and Garcia, 2019), is one of
the stations that most utilizes this technology. In September 2018 (Antena3.com, 2020), it introduced VR in their studio sets, as
an instrument with which the presenters interacted to tell the stories. is is dened as augmented reality, which combines real
elements with virtual ones, and allows, as we will analyze in detail, for a more complete narrative, where specic content can be
presented more clearly and precisely. Other television channels have also began to use this resource, such as
RTVE, Telemadrid,
or
TV3
. Internationally, many channels are using this resource more frequently, especially as a support for specic content, such
as weather information (
Weather Channel
), sports (
Eurosport
), or special programs. We also nd interesting examples, where AR
is utilized in news items, in the United States (
CBS
and
NBC
), Europe (
BBC, France 2, RAI, RTL
), and other continents (
Al Arabiya,
Al Yazeera
).
Before delving into our analysis, we should dene
Antena 3
within the Spanish television panorama. It belongs to the Atresmedia
Group (also the owner of
laSexta
), which along with Mediaset (
Telecinco, Cuatro
), shapes the private sector of open generalist
television in Spain. Aside from these four, we can also add two public stations:
La 1
and
La 2
.
items was systematized. e key elements for its interpretation are
the in-depth interviews given to a group of experts and professionals
from the dierent departments of
Antena 3
. e results point to the
predominance of static elements as opposed to enveloping and mobile
ones. An aesthetic function is observed, which in many cases, along
with the informational function, contribute to a clearer presentation
of the information. e presenter interacts with the augmented reality,
although in a limited manner.
Antena 3
News bets on the incorporation
of AR as an informational narrative, and thus contributes with a
dierentiating aspect to its brand image.
Keywords:
Augmented reality;
Antena 3
news; new narratives; immersive
experience; news programs.
ción de estas piezas. Un elemento clave para su interpretación son las
entrevistas en profundidad realizadas a un grupo de expertos y a profe
-
sionales de diferentes departamentos de Antena 3. Los resultados mues
-
tran que predominan los elementos estáticos frente a los envolventes y
móviles. Se observa una función estética que –en muchos casos unida
a la informativa– contribuye a una exposición más clara de la infor
-
mación. El presentador interactúa con la realidad aumentada, pero de
manera limitada. Antena 3 Noticias apuesta por la incorporación de la
RA como narrativa informativa y aporta así un aspecto diferencial a su
imagen de marca.
Palabras clave:
Realidad aumentada; Antena 3 noticias; nuevas narrativas; experien
-
cia inmersiva; informativos.
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Mercedes Herrero de la Fuente and Carlos Jiménez Narros
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1.1. e prominence of television is still valid
Despite the great changes in the manner in which content is distributed and consumed, television is still the most popular medium,
and has not yet been supplanted by the Internet. According to a report from the Association for Research on Communication
Media, in 2019, 85% of the Spanish population armed watching television, as compared to 79.9% who declared themselves to
be Internet users. Also, the television viewers did so daily for 3 hours and 32 minutes on average, while for the Internet users, this
gure decreased to 2 hours and 41 minutes (AIMC, 2020: 12-13).
But this same study revealed that the largest age group within the television viewer groups was composed by those older than 65
years-old (24.4%), in clear contrast with the 20 to 24 age group, which only comprised 5.2%. is data improves up to 20.2% for the
next age group, those aged 25-34 (AIMC, 2020: 14). Other research studies indicate similar values and show historical minimums
in the consumption of television for the age’s groups dened as children, young, and young-adults. us, the group aged between
4 and 12 years-old watches TV for 1 hour and 59 minutes on average; the 13-24 age groups do so for 1 hour and 37 minutes; the 24-
44 age groups reach 2 hours and 41 minutes, and lastly, the 45 to 64 age groups watch up to 4 hours and 34 minutes (Barlovento,
2019: 16-17).
e aging of the audience is not unperceived by the television stations. Capturing a younger audience demands the production of
new formats, where the application of technologies based on virtual reality could be useful. “at the youth do not watch television
is a myth –ensues Silvio González, Managing Director of Atresmedia– another thing it that they watch it in another format or at a
dierent time, but they watch it” (
El Condencial Brands
, 2019).
e inclusion of augmented reality in
Antena 3
News could have had a positive impact on its audience. According to data from
Barlovento Communicacion, this station is the most viewed in the early afternoon (14:00-17:00), from Monday to Friday since
2018. e news program at 15:00, presented by Sandra Golpe, was the ratings leader during the period of time when the present
research took place, from September 2018, to March 2020 (Barlovento, March 2020; Barlovento, February 2020; Barlovento,
January 2020; Barlovento, 2019: 52; Barlovento, December 2018; Barlovento, November 2018; Barlovento, October 2018;
Barlovento, September 2018), and its ranking has been maintained up to the present day (Barlovento, January 2021). Also, during
the weekend, a technical tie was observed between
Antena 3
and
Telecinco
, in all of 2019, and the last two months delimited in
our study (Barlovento, March 2020; Barlovento, February 2020; Barlovento, January 2020; Barlovento, 2019: 52). It this sense, the
armation by Watson on the future of television is pertinent: “the audience needs to be placed at the center of any serious plans
for the future” (2016: 40).
1.2. Augmented reality and its use in Antena 3 News
Virtual reality and augmented reality are technology systems based on devices that include the digitalization of images. ese
terms, although related, are also dierentiated. us, we must delve into their meaning to better understand the connection
between AR and VR.
We nd many denitions of the term VR in the scientic literature, with each considering a dierent aspect, and with the
technological component playing a leading role. Among the rst denitions, we nd the one by Lanier, who in 1989 linked this
tool with the stimulation of all the senses (not only sight), and with the use of equipment that allow the user to perceive the virtual
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Augmented reality in Spanish television: the case of Antena 3 News
ISSN: 1696-019X / e-ISSN: 2386-3978
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world as if it were a physical one (Paíno & Rodríguez, 2020: 4). Bell and Fogler present VR as a “interface characterized by high
degrees of immersion, believability, and interaction, with the goal of making the user believe, as much as possible, that s/he is
actually within the computer generated environment” (1995: 2). ey also add that in an ideal virtual experience, it is impossible
to distinguish the simulation from the real. In a summarized manner, Brudniy and Demilhanova stated that “it is the area created
with computer technologies and sensed as real existence” (2012:6), while for González and Abad (2020), it is an immersive digital
practice which substitutes the real environment for another. Most authors put stress on the tridimensional character of VR and
its ability to nullify the real world that exists around us. A virtual experience provides us with a complete view from any angle, so
that what is virtual becomes “everything that surrounds us” (Cantero, Sidorenko & Herranz, 2018: 81). As a conclusion, we can
extract three elements that are commonly accepted by the main authors when discerning what VR is. ese are: “immersion
(multisensorial), presence, and interactivity (Paíno & Rodríguez, 2020: 5). ese components have an inuence on the manner in
which the user relates with the virtual world and becomes involved in that experience.
e term “augmented reality” was rst mentioned in a scientic publication in 1992 and was introduced by Caudell and Mizell.
Both stated that it was a technology which “augmented” the eld of view of the user (1992: 660). Many authors understand AR
as a variation of VR. Azuma points out that VR immerses the user within a synthetic environment, so that the user cannot see
the real world around him or her. However, AR allows the user to perceive a real context with superimposed virtual objects. is
means that “AR supplants reality, but does not replace it completely” (1997: 355-356). Drasdic and Milgram (1996) point to the
combination of the real world and the virtual one thanks to the possibilities provided by new technologies. Also, Parra, Edo and
Marcos (2017) stress that it is the combination of the real and the virtual which dierentiates AR from VR. To this eect, in the
augmented reality objects from
Antena 3
News, the presence of virtual objects, either static or mobile, next to the presenter, is
observed on the set. Along this line, we nd the approach by Tejedor, Cardona, and Cervi, who dene AR as the “superposition, in
real time, of virtually-created images, signs, or information over images in the real world” (2020: 439). But far from being a mere
addition, AR “does not supplant reality, but instead complements it, and improves it up to a certain point, by implementing the
combination of virtual and real objects in real time” (Caldera, 2020: 644). According to this author, we can speak about three phases
of the use of AR in television: in the rst, we nd the
chroma-key
, which works as the backdrop of the set. In the second phase,
“an image created by a computer is superimposed on a real-world image”, thus adding additional information. is application
is very frequently used for oering statistics, signs, or labels in real time. On the third stage, we resort to “external devices for AR
visualization”, which can transform the manner in which television is watched, converting it into an interactive experience. For
this, additional devices are added, such as mobile phones or
tablets
, which allow the user to access complementary content in
dierent formats (Caldera, 2020: 646). is last phase is still in its initial stages, but it can imply, as mentioned earlier, a point of
inection in the consumption of television. Our sample is found in an intermediate stage, where the virtual objects complements
the real world, providing a dierent dynamic, and allowing a more graphical presentation of specic news items.
e immersion factor is present in both technologies, but it seems to be accepted that the degree of immersion can be varied.
Darley (2002) considers that specic elements, especially goggles or gloves, are essential for facilitating an experience in which
the representation of the reality created by the technologies surrounds the user. e non-immersive variant is produced through
the screen, which inevitably becomes a physical barrier. is is echoed by De la Peña
et al
. (2006), who understands immersion
as an essential factor for understanding reality, and concludes that the traditional media, in some manner, under-represents it.
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If we ask ourselves about the degree of immersion of the AR present in the
Antena 3
news programs, we nd a particular issue. e
user does not have access to this experience, as he or she does not have the specic tools needed for the interaction (goggles and
gloves) and is separated from that which is received through the screen. However, in some of the examples selected, the spectator
perceives the presenter as being immersed in a physical space that is dierent from the set. e particular enveloping creations
analyzed in the present work, such as the Palace of Moncloa, the Congress of Deputies, or Downing Street, just to mention a few
examples, perform a very eective ‘staging’ for the audience. However, the experience of the reporter, who is apparently seated
in the oce of the Spanish prime minister, is not immersive at all, as what he or she observes around him or her is exclusively the
set, and he or she only has a monitor available that is used a guide when moving around the space recreated for the audience.
us, we think that the term ‘staging’ is more adequate in this case, when referring to this type of enveloping AR (Miguel Oliveros,
2020, personal communication).
In the last few years, the use of these technologies in the news programs guides us towards immersive journalism, understood
as how “to create a sensation in people of being in a place, in which credible actions are performed that they perceive as truly
occurring, and more importantly, where their bodies are involved in this event” (De la Peña
et al.
2006: 299-300). erefore, it is a
dierent way to access the news, in which the user feels transported to the place where the events took place, with the possibility
of interacting with them.
Immersive journalism can be based on both virtual and real elements (video 360º). Its main characteristics were dened by
De la Peña
et al
. (2010) as the “conuence of three elements: the illusion of presence in the narrative or news scenario, the
plausibility, and the possession of a virtual body, that is, an avatar for accessing the reality presented” (Pérez-Seijo & López-
García, 2018; 289). e latter imports a narrative factor from videogames, and it is only possible through VR. e immersive
experience takes us to a space where the user experiences an alternative reality, with the perception of participating in an event
that is truly occurring. To create this immersion, specic technological resources are needed (glasses, gloves, and helmet), but
the immersive news narrative is not only based on these tools, which alone do not guarantee immersion. To achieve this type of
information experience, the narrative is fundamental. As explained by one of the experts who was interviewed for this research
study, it is essential to dene “what aspects of the narrative must be considered to know if immersion or not is being promoted”
(Eva Domínguez, 2020, personal communication). Other authors also express themselves in the same manner, such as Frasca
(2007), and Oliveros (2018). Can this immersion be achieved without digital resources? From the psychological point of view, this
is armative. Gerrig (1993) sustains that immersion can be experienced without mediating the interaction, when the individual
feels transported to another place, or experiences that which occurs to the characters as if it was happening to him or her. is is
denitely the experience of the reader or the movie watcher.
us, focusing on the narrative, Domínguez (2015) states that the immersive rhetoric is solidied into a series of resources or
strategies. If we confront these points with the AR creations from
Antena 3
, we nd specic coincidences with more complex
examples. We can highlight the following: the composition of the interface with a single frame (without compartments), the
hyper-realistic graphical style, or the movement through continuity (without mediation from the production). However, there is
no capacity of interaction from the spectator, which could include direct manipulation, emerging menus, choosing what is seen,
or simulating a character.
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Augmented reality in Spanish television: the case of Antena 3 News
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One of the most important aspects of immersive experiences is the ability to create empathy with respect to specic situations.
e user feels transported to the context where a specic event has taken place, and, as we have pointed out, can even physically
interact with the dierent actors involved. For De la Peña
et al
., given the indierence provoked by news saturation, immersive
journalism could become the ideal tool for “restituting the emotional involvement of the audience” (2019: 298). In line with the
proposal by Gerrig (1993), De la Peña emphasizes the importance of participation in the rst person, placing oneself in the place,
and experiencing the recreated reality.
But this involvement also brings with it risks related with rigor and objectivity of the news content. Pérez-Seijo
and López-García
point to the “manipulation of the environment, the conditioning of the sources of information, and the exposure of sensitive
images” (2018: 296) as the most important ethical dilemmas. e virtually-created distortion of reality, the conditioning of those
involved in a news item, implied by some recording strategies (such as the face-to-face, to speak directly to the camera to appeal
to the user), and the emotional impact that certain content can provoke, are very delicate aspects to consider when creating an
immersive journalistic piece.
We will not insist on this matter, as the immersion factor is hardly relevant for the experience of the
Antena 3
News viewer. If a
prospective exercise is performed, we believe that the use of AR in the news program from this station can evolve, resorting to
a series of already-existing technological possibilities (
smartphone
, headphones, 60º sound specialization system, and virtual
goggles), thereby being able to oer a more interactive experience in the future (Miguel Oliveros, 2020, personal communication).
To conclude this exercise of conceptually placing the AR pieces included in the news program from
Antena 3
, we introduce
an element that is ever more present in the television news: the spectacle factor. In agreement with the observation by Perez-
Arozamena, “(…) the Spanish generalist television news are presented to the viewers as a product that can be converted into a
type of show it itself, if the ultimate aim of the information is undermined, which is to inform” (2016: 258). e use of moving visual
elements that reproduce the spaces where we do not usually have access to, with great delity (the Oval Oce in the White House,
the House of Commons, or the previously mentioned Palace of Moncloa, Downing Street), could draw our attention away from
the content of the news itself, wrapped in a series of powerful visual resources. is debate, which could be extrapolated to any
information that integrates VR, depends entirely on how this technology will be utilized. is is how it is unanimously understood
by the experts and professionals consulted for this article, whose evaluation could be summarized by the words expressed by
the expert in technologies Manuel San Frutos: “When a graphical or audiovisual tool is utilized as if it were pyrotechnics, it will
remain that way. Everyone likes reworks, but once you’ve seen one, you’ve seen them all. Also, the problem with this is that the
next one has to be better, it is a never-ending race” (Manuel San Frutos, 2020, personal communication).
1.3. Professional proles demanded by augmented reality
e media panorama is, as not too many sectors, the empirical embodiment of ‘liquid modernity’ formulated by Bauman (2005).
In this sense, Cerezo (2018) refers to the ‘liquid media’, oriented towards the satisfaction of new and ever-changing consumption
habits, within a business model dominated by distribution platforms. In this volatile context, the professional qualication
demanded also changes fast, and due to this, we approach this research study with the concern for dening which professional
proles, either new or already existing, are directly involved in the AR creations within the area of television news programs.
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e new proles “are distinguished for their hybrid character and are integrated into multidisciplinary teams” (Herrero and
Sierra, 2020: 97). In fact, the professionals interviewed (Kevin Álvarez, 2020; Javier Gallego, 2020; Jesús Lozano, 2020) point to
the involvement of dierent areas for these productions, such as: production, graphic design, editing, and technical department.
Although the AR in
Antena 3
is performed with a producer, a graphic designer, a presenter, an editor and a camera operator,
we cannot forget the importance of the computer scientists and digital designers for the creation of the
software programs
(
Maya, Viz Artist, Photoshop
) destined to dierent environments (videogames, movies, and other audiovisual productions). All
of this, together with another of the characteristics that are usually attributed to the new proles: “ey possess an important
technological component and work in dierent areas, focused on matters that go beyond content and formats” (Herrero and
Sierra, 2020: 97).
Lastly, we believe it is important to highlight the observation by Karan (2017), remembering that beyond that of the technological,
the information is still created by journalists, who are rigorous and responsible professionals: “It changes the format and tasks,
but not the social function, or the illustrative act of informing about important and objective, pertinent facts” (Karan, 2017: 66).
2. Objectives
is research study will approach the area of augmented reality and its incorporation as a resource that supports the television
news content; in this case, we will delve into how the news services from
Antena 3 News
utilizes them. For this, the following
specic objectives were dened:
–
To analyze AR as a narrative resource to tell stories. To verify the main functionality of AR utilized in the news pieces from
Antena 3
, evaluating if the aesthetic, aesthetic/informational, or informational character predominates.
–
To establish the elements and typology that characterize the pieces created with AR in
Antena 3 News
in the period of analysis
established for this study, which took place between September 2018 and March 2020.
–
To reect on the possibilities of interaction by the viewer and the news presenter, focusing on the particular case of AR in
Antena 3
.
–
To identify which subjects are more frequently addressed with the support from AR in the news programs from the television
channel analyzed.
–
To dene the team of professionals involved in the creation of AR that appear in
Antena 3 News
and detect the demands of spe
-
cic training that exist in these work environments of teamwork that are characterized by their multi-disciplinary character.
–
To achieve these objectives, the following methodological approach was designed.
3. Methodology
For this research study, considering the objectives dened, we utilized three methodological approaches: descriptive, quantitative,
and qualitative. e rst of them is built on a study based on secondary and primary sources that help with providing a context of
the television phenomenon and the use of augmented reality, trying to dierentiate it from other disciplines with which it shares
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Augmented reality in Spanish television: the case of Antena 3 News
ISSN: 1696-019X / e-ISSN: 2386-3978
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some aspects, such as virtual reality or immersive journalism. e study focuses on the news programs from
Antena 3
, which are
some of the most viewed in Spain, especially at 15:00 O’clock, where it is the ratings leader since 2018. We approach the terrain
of immersive journalism and the possibilities of interaction oered by these augmented reality pieces on current aairs. We also
approach the concept of ‘spectacle’ as a possible existing risk when the aesthetic component is abused, and the informational
function is forgotten.
We delimit the new professional proles and the training needs of the communicators who work with audiovisual content.
e qualitative focus of the research study is founded on 6 in-depth interviews conducted through a videoconference with the
Blackboard Ultra
platform in the months of July and August 2020, with each of the interviews lasting about 1 hour. All the interviews
were recorded and transcribed for their study and consideration. e interviewees responded to two dierent professional
proles. On the one hand, active journalists or professionals (producer, graphic designer) from
Antena 3 News
, and whose work
was related with the creation or staging of the news that are supported with augmented reality; on the other, augmented reality,
new narratives, and immersion experts. eir contributions have been very important for the interpretation of the data obtained
in our analyses. e following table shows the names, proles, and the date the interview was given.
Table 1. Reporters, professionals and experts interviewed in-depth
Names and last namesProfessional proleInterview date
Antena 3 professionals
Javier Gallego Regalado
Antena 3
editor and anchorJuly 21
st
, 2020
Kevin Álvarez Mercado
Antena 3
graphic designerJuly 22
nd
, 2020
Jesús Lozano Corchón
Antena 3
imaging and productions directorAugust 28
th
, 2020
Augmented reality experts
Miguel Oliveros MediavillaExpert in immersive narrativesJuly 17
th
, 2020
Eva Domínguez MartínExpert in immersive narrativesJuly 29
th
, 2020
Manuel San Frutos ForjaExpert in new technologiesJuly 30
th
, 2020
Source: author created
e third methodological approach was quantitative and was based on the analysis of a series of news items presented with
the support of augmented reality and broadcasted in a period of 18 months in the
Antena 3
daily, weekend, and special news
programs. e period examined ranged from September 2018 to March 2020. e study begun on this date because it coincided
with the moment in time in which
Antena 3
decided to incorporate this new technology to their sets, and the ending date was
due to the COVID-19 pandemic, which forced the station to meter out the human teams that could work in-person. To measure
these news items, a matrix was constructed which established some formal patterns that would help with the rst classication
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of these items. e creation of this tool was supported by the previous work from Azkinaga, Gaztaka, and Eguskiza, 2019. We
began by the registration data, which indicated: name of the item, broadcast date, duration (less than 30”, between 30 to 60”, and
longer than 1 minute), theme, and news program where it was broadcasted, after which the aspects related to augmented reality
were measured. e character (static, mobile, or enveloping), the interactions between the augmented reality and the screen, the
immersion (within the scenario, behind, left, or right), and interaction of the presenter (limited, elevated, without interaction),
the functions of augmented reality (aesthetic, informational, and aesthetic-informational), the incorporation of data, and the
item’s approach (‘outside the set’, virtual element in the set, or based on data, gures and data), were determined.
e sample was comprised by 51 news items presented with the support of augmented reality broadcasted by
Antena 3
. We
included news items that were the most representative for our period of analysis. In the selection of the sample, we found all the
news items tagged by
Antena 3
with this category and stored in its webpage dedicated to augmented reality. We only eliminated
those that promoted the television station, always considering the objectives of the research study. Each sample unit was
analyzed with this matrix, and the extensive volume of the data was codied and processed. e recording and extraction of data
was conducted with the Excel software program. During the ltering process, we compared dierent variables of interest for the
proposed research study, and always in agreement with the objectives set.
4. Analysis of the results
Antena 3
is the television channel which has incorporated the most augmented reality objects in its news programs. Since 1993,
they have pioneered the use of technology (Jesús Lozano, 2020, personal communication), and in this sense, they were the rst
to end with the traditional talking bust, inspired by other international productions, but also creating their own proposals (Javier
Gallego, 2020, personal communication).
From the data obtained, we should underline, as related to the broadcast data, that 43.1% of the news analyzed were broadcasted
in the rst afternoon edition of the news program, 33.3% in the second, 9.8% during the weekend, 7.9% in the morning news
program, 2% in the morning program
Espejo Publico
(Public Mirror
), and 3.9% were found in special programs on the elections.
When analyzing the subject variable, a clear predilection was observed for society news contents (51%), followed by politics
(23.5%), international (13.7%), economy (7.9%), and culture (3.9%). Some international examples we detected and reviewed
indicated that we are dealing with a technology that is very promising as support for the information presented, and also in
sectors such as sports and meteorology, coinciding with what was pointed out by our interviewees (Jesús Lozano, 2020, personal
communication). In this sense, the journalist Javier Gallego points out that in the United States, there are some meteorological
channels with amazing productions. “ey are greatly exploring (…). ey do not use this element as a spectacle, but to explain
the eects of these phenomena” (Javier Gallego, 2020, personal communication).
e duration of most of the items analyzed was less than 1 minute. ere were only 8 that lasted longer, and these were enveloping
news, in which the presenter was located in another stage, ‘outside the set’, and his or her main functions were aesthetic and
aesthetic/informational. is reveals that for this ‘staging’, a longer news piece was needed. In those that were shorter than 30
seconds, we found an abundance of virtual elements on the set (especially static ones), and with tri-dimensional signs, gures,
and data, with the ones that took us outside of the studio being exceptional. In most of these short creations, the function
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highlighted was aesthetic/informational, followed by an aesthetic one. In the news with an intermediate duration, between 30
and 60 seconds, the static AR elements also prevailed, followed by the enveloping and the mobile ones, with a clear relationship
between duration and functionality not observed.
4.1. Type of augmented reality, immersion and interaction of the presenter
We analyzed the data recorded related to the use of augmented reality as a support for the narration of a current event and
paused on its typology. We observed that in most occasions, a static element was introduced, such as signs, tables, graphics, or
representational resources (maps, buildings, bridges, or pumpkins). In second place, we found enveloping elements (Congress
of Deputies, Oval Oce, Westminster Palace, or the Palace of Moncloa), and to a lesser percentage, the graphical support was a
mobile element (rocket, metro, plane, helicopter, or car).
Graphic 1. Type of augmented reality used in
Antena 3
News
Source: author created
In the case of the static elements, the most recurring ones, according to Figure 1, were those whose function was aesthetic/
informational or aesthetic, and in which the presenter exerted a small interaction, limiting himself or herself to pointing when
referring to the virtual object.
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Image 1. Static augmented reality elements
Source:
Antena 3
When focusing on the immersion terrain, or ‘staging’, as some experts prefer to name it, we can point out that in 79.2% of the AR
creations, the presenter was behind, to the left or to the right, while in 20.8%, he appeared to be on another stage that was not the
set. As Manuel San Frutos claries, this aspect is very interesting when we are talking about immersion in a news program, because
we are “normally used to immersive experiences in rst person, and in these cases, this is not the case” (Manuel San Frutos, 2020,
personal communication). e dominant position of the presenter on the set is behind the augmented reality object, especially
when the reporter is shown sitting behind the desk, although on some occasions he or she moves around the augmented reality
element and stops at one of its sides. As for the viewers, they do not interact with the medium at any time, given the limitation of
the television screen and the conditions in which the audience are found when watching the news.
e data on the possible interaction exerted by the reporter with the augmented reality object show a predominance of limited
actions, followed by no interaction and high interaction, as shown in Figure 2. When we detected a limited interaction, the
presenter pointed and mentioned the object referred to in the news item. In this case, we observed an abundance of objects
with aesthetic functions (46.5%), where we found content without data, followed by those that had an aesthetic/informational
function (32.14%), and lastly, by those that were informational (21.42%).
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Graphic 2. Degree of interaction established by the presenter with the augmented reality object
Source: author created
In most of the cases where interaction did not exist (33%), the presenter was found behind the augmented reality object, and in an
exceptional manner, he or she was found at the right or left of the object. is position makes a lot of sense, because, as interaction
is not produced, the reporter can be placed behind. As the data reveal, in these sample units, there was a predominance of the
aesthetic/informational function (41.2%), closely followed by an aesthetic function (35.3%), while only 23.5% of them possessed
an informational function. If we relate the non-interaction with the focus of these augmented realities, we underline that in
52.9%, there was a virtual element on the set (table, bridge, capitol, map, or pumpkins), and in 47.1%, there was prevalence of
signs, gures, and data. e maximum interactions with augmented reality were recorded between the months of January and
September 2019, which were more frequent in the early afternoon edition, followed by the second evening edition. At these times,
Antena 3
made a greater eort on the creations with which it experimented with this new technology, those that required a more
detailed forecast and a higher economic budget. Some signicant examples were the two pieces created for the 50
th
anniversary
of the arrival of man to the moon, one presented by Vicente Valles, and the other by Roberto Brasero and a collaborator. Also
highlighted were two elements presented by Sandra Golpe, one of them due to the debut of the television program ‘e Voice’,
and another when we saw the inside of the Palace of Moncloa.
is same strategy was utilized for the news item in which Vicente Valles was transferred to the Oval Oce. Likewise, we should
highlight a news item in which the editor of
Antena 3
News 1, Javier Gallego, talked to us about the rainstorms, and how the water
level rose. To make it more understandable, he showed us a car that oods little by little. is same idea was previously developed
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by the
Weather Channel
in the USA. Another item that was very representative of AR was the news item in which Sandra Golpe
and Javier Gallego were placed inside a kitchen due to a current events news item.
Image 2. Augmented reality with an enveloping character
Destacan también dos más presentadas por Sandra Golpe, una de ellas con motivo del estreno del
programa
‘
La Voz
’
,
y otra cuando aparece en el interior del Palacio de la Moncloa.
Esta misma estrategia sigue la noticia en la que Vicente Vallés se traslada al despacho oval. De igual
forma
sobresale
una pieza informativa en la que el editor de
Antena 3
Noticias 1, Javier Gallego, nos
habla del temporal de lluvias y de cómo sube el nivel del agua y, para hacerlo más compresible, se
muestra en el plató un coche que se va inundando poco a poco. Esta misma idea fue desarrollada
anteriormente por el canal meteorológico estadounidense
Weather Chan
nel
. También es muy
representati
va la
RA
en la que los comunicadores Sandra Golpe y Javier Gallego se instalan en el
interior de una cocina a propósito de una noticia de actualidad.
Imagen 2:
Realidad aumentada con carácter envolvente.
Fuente:
Antena 3
E
l director de Imagen y Realización de Antena 3 señala refiriéndose a estas creaciones:
“antes era
mucho más costos
a
su puesta en marcha, pero ahora todo se ha simplificado bastante porque existen
librerías de objetos que pueden comprarse y adaptarlas a tu plató, sobre todo cuando se requiere
inmediatez” (J
esús Lozano, 2020, comunicación personal).
“
L
a realidad aumentada ha llegado para
quedarse,
porque
al
tratarse
de un
recurs
o gráfico muy visual aporta un plus y es una garantía en un
medio audiovisual
co
mo la televisión
,
es como la incorporación de la infografía
a
l periódico
”
(Javier
Ga
llego, 2020, comunicación personal).
Cuando
el periodista simula ubicarse en otro espacio virtual
(plató de ‘La Voz’, Moncloa, despacho
oval y cocina)
,
su
interacción con la realidad aumentada es
limitada
en el 100% de los casos (se sienta,
toca, pasea, rodea, muestra y señala). En este sentido,
el
término ‘escenificación’
resulta
más adecuado
,
Source:
Antena 3
e Imaging and Production Director from
Antena 3
points out the following when referring to these creations: “before, their
implementation was more costly, but now everything has been simplied, because there are objects libraries that can be bought
and modied to t the set, especially when immediacy is required” (Jesús Lozano, 2020, personal communication). “Augmented
reality is here to stay, because as it is a very visual graphical resource, it brings something extra to the table, and it is guarantee
in an audiovisual medium such as television, it is just like the infographic to the newspaper” (Javier Gallego, 2020, personal
communication).
When the reporter simulates being in another virtual space (‘e Voice’ set, Palace of Moncloa, Oval Oce, and kitchen), his or
her interaction with augmented reality is limited in 100% of the cases (he or she sits, touches, strolls, goes around, shows, and
points). In this sense, the term ‘staging’ is more adequate, as the presenter is not observing the augmented reality imported to
the set at any time, except for the television monitor, which he or she cannot watch constantly either. Javier Gallego points to this
aspect:
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You have to know the volume and more or less delimit the space where you can move so you don’t invade the AR space. It is at object
that is in front and the presenter cannot go through it. Also, there should be a proportional relationship between the presenter’s
body and the volume of the object or building created. AR is a xed plane that cannot be moved, although it can be rotated or spun.
If one is not aware, one can invade this area, and the building, for example, would be small, and I would be large. is is one of the
diculties, and this is why you must have a spatial limit in your head to know up to which point you can move, and how you can move
and gesticulate. For me, for example, as I like to gesticulate and be dynamic and move, I have to keep everything under control to not
ruin everything (Javier Gallego, 2020, personal communication).
In this sense, Manuel San Frutos points out that if the presenter goes through the signs marked on the oor of the set (safety
area), and goes over them, an interference is created, so that the object is pushed out of the narration (Manuel San Frutos, 2020,
personal communication).
4.2. e functionality of the contents with AR and the addition of data
If we pause on the variable of functionality of the augmented realities, we verify, according to Figure 3, that the results of the
aesthetic and aesthetic/informational categories, are the same: however, the informational function is lower. us, we can add
that the augmented reality objects whose aesthetic function is not clear, primarily do not contain data (90.5%), and tend to be,
preferably, static elements that are added to the set (53.6%), followed by those that are enveloping, which are found outside the
set (28.6%).
Graphic 3. Functions of the augmented reality objects utilized in
Antena 3
News
Source: author created
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As pointed out by the interviewees, in the case that the aesthetic prevailed over the information, we should be careful that the
news programs and their staging do not become a spectacle. “Augmented reality is a very interesting type of help for capturing the
interest of the audience, it is visually impacting and can be a very ecient resource in the news programs” (K. Álvarez, personal
communication, July 22
nd
, 2020). As for the concept of spectacle, the editor and presenter Javier Gallego attests that:
e risk of becoming a spectacle goes beyond other programs that are not information-related. In a news program, the spectacle is
very limited or does not exist. ere is no margin, we have the current events and day-to-day script. e current events write the story,
and you adapt it to the graphical, visual, and narrative elements, and if possible, obtain the maximum audience (Javier Gallego, 2020,
personal communication).
e producer Jesús Lozano adds:
It very much depends on the person and the medium that utilizes it. e risk exists, but this occurs with anything you give to a human
being. One could use it one way, and another in another way. e same tool is being used in many countries and in many dierent
media and channels, and its use is found within the editorial line. I believe more on the information than in its use as a spectacle, but
the news programs also evolve towards the ‘magazine’ type of program, and this is not negative at all (Jesús Lozano, 2020, personal
communication).
Eva Domínguez, an expert in immersive narratives, positions herself along the same train of thought. She recognizes that “there
could be a certain type of ‘spectacle’ in these news programs, although it is important to consider that they overcome the challenge
of capturing the attention of the viewers. If it is well utilized, it is a resource that helps with the understanding of the content, but
this is dependent on each case” (Eva Domínguez, 2020, personal communication).
If we focus on items that have an aesthetic/informational function, we noticed that the percentages are quite close. Of these,
57.1% possessed content with data, with 42.9% of them not having data. Also, 57.1% were static elements, 23.8% were mobile, and
19.1% were enveloping. When analyzing the augmented reality object with a clear informational function, we detected that 90%
of them showed content with data, and were all static (signs, gures, data, schemes, or maps), and in most of the cases, they were
based on gures and data.
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Image 3. Augmented reality elements with an informational function
utilizada supone un recurso que ayuda a entender el contenido
,
pero
dependerá
de cada caso
”
(
Eva
Domínguez, 2020, comunicación personal)
.
Si nos centramos en las piezas con una función estética/informativa
,
anotamos que los porcentajes no
se distancian demasiado. Poseen contenido con datos en el 57,1% de los casos y sin ellos en el 42,9%.
Además, el 57,1% son elementos estáticos, el 23,8% móviles y el 19,1% envolventes. Al acercarnos a
las piezas de realidad aumentada
con
una clara función informativa detectamos que el 90% muestran
contenidos con datos y en su totalidad son de elementos estáticos (rótulos, cifras, datos, esquemas,
mapas)
y en la mayoría de los casos se fundamenta en cifras y datos.
Imagen 3:
Elementos de realidad aumentada con función informativa.
Fuente:
Antena 3
En alguna ocasión, como en
las dos noticias de ‘el rescate de Julen’, coincide que se muestra en el
plató un elemento virtual y a la vez se ofrecen datos a los espectadores. En estas piezas el valor
informativo es muy destacado, en palabras de Javier Gallego (2020)
.
Para mí es un r
ecurso brutal (…). Un ejemplo muy claro que tuvimos fue el rescate de Julen.
Para nosotros la RA fue una herramienta básica porque estábamos informado de algo que no
se veía, que estaba debajo de la tierra, de cómo eran las galerías de los túneles paralelos, cómo
llegaron.
La RA fue como decir
,
tenemos la herramienta audiovisual ideal para explicar al
espectador lo que está pasando ahí debajo. Eso en un vídeo no lo puedes enseñar, porque no
lo tienes. En el caso de las elecciones, los gráficos animados te dan ese plus para que el
espectador se fije, observe las comparativas y vea todo mucho más comestible, lo digiera
mejor y sea mucho más cercano
;
totalmente visual y fácil de entender (Javier G
allego,
2020,
comunicación personal).
El
experto en periodismo inmersivo Miguel Oliveros considera
que,
aunque se enriquece la
experiencia informativa, sigue conviviendo con un componente estético que le añade
espectacularidad
(
Miguel Oliveros, 2020, comunicación personal). Por su parte
,
Manuel
San
Frutos pone e
n
relieve el esfuerzo
que
realiza
Antena 3
por apostar por una manera distinta de
generar un contenido diferente en un formato informativo de corte tradicional
(
Manuel San Frutos,
2020, comunicación personal).
Source:
Antena 3
On some occasions, such as in the two news items about ‘Julen’s rescue’, we found that a virtual element coincided with data
presented to the viewers. In these items, the informational value was very high, in the words by Javier Gallego (2020):
For me, it is an amazing resource (…). A very clear example we had was Julen’s rescue. For us, AR was a very essential tool, because we
were providing information about something that could not be viewed, that was underground, the shape of the galleries in parallel
tunnels, how they arrived. AR was like saying we have an ideal audiovisual tool for explaining to the viewer what was occurring
down below. You cannot show this in a video, because you don’t have it. In the case of the elections, the animated graphics give you
something extra for the viewer to focus on, to observe the comparisons, and so that everything is more digestible, to digest it, and so
that everything is closer; completely visual and easy to understand (Javier Gallego, 2020, personal communication).
e expert in immersive journalism, Miguel Oliveros, considers that although the informational experience is enriched, it still
co-habits with an aesthetic component that adds spectacularism (Miguel Oliveros, 2020, personal communication). On his
part, Manuel San Frutos highlights the eorts made by
Antena 3
when betting for a dierent way to create dierent content in a
traditional informational format (Manuel San Frutos, 2020, personal communication).
is is a technology with a long road ahead, as pointed out by the experts and professionals interviewed, among which we nd
Eva Domínguez:
AR provides the value of tridimensionality into your context. I understand things better when I’m the measurement of what you
are showing me (…). Within the value of the tri-dimensional, we must explore the narrative (…). To say that AR contributes with
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tridimensionality is like writing the rst sentence of something that is very long, and that will be several pages long (Eva Domínguez,
2020, personal communication).
When focusing on augmented reality that includes content with data, we discovered that almost half of them added data (43.1%).
Of these, the distribution was the following: aesthetic/informational function (52.2%), informational (39.1%), and aesthetic
(8.7%). On the contrary, we found the items whose content did not show data (56.9%), and in this case, as related to their function,
the AR objects were preferably aesthetic (65.5%), followed by the mixed category aesthetic/informational (31%). As a conclusion,
we can point out that the addition of data and the aesthetic function were inversely proportional.
If we consider the items that took us ‘outside the set’, 89.9% did not contain data. e results indicate that the main function of
these objects was aesthetic (63.6%), followed by aesthetic/informational, and lastly by informational (9.1%), and the presenter
showed interaction that was either limited (63.6%), or high (36.4%). Some of the spaces that were recreated were: Downing Street,
House of Commons, ‘e Voice’ program, Palace of Moncloa, the Oval Oce, or the Congress of Deputies. e most experienced
reporters were those who normally presented the news items: Vicente Valles, Sandra Golpe, Javier Gallego, and Roberto Brasero.
We can conclude that the augmented reality elements, whose purpose was to take us to a location outside of the set, did not
generally show data, that their main function was aesthetic, and that in all of them, some type of interaction was produced. To
conclude, the news items based on signs, gures and data, complied with functions that were informational (40%), or aesthetic/
informational (40%). us, information and data were always united.
5. Conclusions
Augmented reality, and more specically, their use in the
Antena 3
news programs, is still in an experimental phase, but this
technology has already become a habitual tool for re-enforcing, classifying, and converting the narration of current events into
something that is more attractive. is is not a passing or temporal resource, as shown by the addition and use of AR in more and
more autonomic, national, and international television channels. After the analysis of the data, the following conclusions can be
made:
–
e most-utilized type of augmented reality in the
Antena 3
News consisted on introducing some static object into the set: sig
-
ns, tables, graphics, or other representational resources. In second place, we found the recreation of enveloping spaces, and
lastly, the integration of mobile elements. e great investment in time and human resources of the most ‘enveloping’ objects
resulted in that they were broadcasted less frequently. When static elements were incorporated to the set, on some occasions,
templates were used that were edited for each occasion.
–
e AR pieces analyzed in
Antena 3
News showed a clear predominance of news with an aesthetic function, as compared to
those that were purely informative. But if we add the creations that contained an ‘informational component’, we can state that
60% used this criterion. e pieces with a purely informational function showed their content through data, and in almost
every case, there was a static element that helped with understanding the news item.
–
e strategy of the
Antena 3
News program has not planned, for now, for the interaction with the viewer. Also, immersion
was not produced, mostly due to the interference of the screen on this process. However, it is striking that the appearance of
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immersion was observed in the case of the presenter, who appeared to move around a location that was dierent from the set.
is is a type of ‘staging’, as the reporter was not submerged in an immersive experience, and what he or she perceived was
still the same studio set. However, possibilities exist for oering this immersive experience to the user, by taking advantage
of the already-existing technologies, but within a narrative that should be focused on the rst-person experience and on its
possibilities of interaction and empathy.
–
e interaction by the presenter in most of the cases was reduced, only limited to pointing or mentioning the object that the
news items referred to. When there was no interaction, it was because a virtual element, or sign, gures, or data, was incor
-
porated to the set.
–W
e found that most of the AR objects were related to the subject of society. Other recurring contents were: politics, internatio
-
nal, economy, and culture. Some subject matters in these sections were foreseeable, and their creation could be anticipated.
For example, the elections or the anniversary of the landing on the moon.
–
e design team from
Antena 3
dedicated to the creation of AR objects is very small. It is normally composed by 2 people,
one in charge of modeling the shape, and another responsible for the texture. Also, during the process prior to the broadcast,
the editor and the producer of the news program intervene, as well as a camera operator on the set, and a camera control
technician, in the control center of the studio. is is not always related to new work proles, but of professionals who have
improved themselves and updated their professional qualications for performing this task. In the case of graphic design, it
is indispensable to be able to use specic programs, such as
Maya, Viz Artist,
or
Photoshop
, among others. In this sense, there
is a demand for specic design skills.
e immersive experience of the user with the use of AR has not been explored to its full potential. Some of the experts consulted
suggested the creation of an application for mobile phones, so that the spectator, through sound and images, could approach the
recreations created on the set in a more interactive manner. Others considered viable to resort to a game engine that exports the
content to
smartphones
, so that with the help of headphones and a specialized sound system, a more immersive type of access
could be accomplished.
e bet by the Image and Production Department from
Antena 3
for the addition of augmented reality is the result of a
project created many years ago, which has been able to maintain its continuity through time, and to base its brand image with
technological innovation. Its example has been followed by other channels, especially the La 1 channel from Radio Television
Española (Spanish Radio and Television), which has just implemented a technological transformation in their sets to add AR as
another resource for narration in its news programs.
6.Acknowledgements
is article has been translated by Mario G. Font.
We are thankful to all the professionals from the news services of Antena 3 News and the experts we consulted for their seless
collaboration in the development of the present research study.
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7. Bibliographic References
AIMC (2020). Marco general de los medios en España (2020). https://tinyurl.com/y4xdm5gc
Antena3.com (2020, 23 enero). Realidad aumentada, así contamos hoy las noticias. https://tinyurl.com/y327xggs Antena3.com
(2020, 23 january) Realidad aumentada, así contamos hoy las noticias. Available at:
https://tinyurl.com/y327xggs
Asociación para la Investivación de Medios de Comunicación (AIMC) (2020)
Marco general de los medios en España
. Report.
Available at:
https://tinyurl.com/y4xdm5gc
Azkunaga García L, Gaztaka Eguskiza I and Eguskiza Sesumaga L (2019) Nuevas narrativas en televisión:
La Realidad Aumentada en los telediarios de Antena 3.
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