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eSports Presentation - OGN, South Korea
OGN (formerly known as Ongamenet), a South Korean television Channel hosted major gaming events held in Seoul using WASP3D’s Virtual Augmented reality (AR).
The South Korean channel OGN, known prominently in the esports world for its long history of broadcasting major competitions, stepped up its visual-presentation game by deploying a virtual and augmented reality graphics system during its live gaming event coverage. The core goal was to convert what might have been a standard livestream of players into a fully immersive broadcast experience — where viewers would feel part of the action, not mere observers.
Central to this evolution was the use of augmented reality (AR) elements that blended computer-generated 3D graphics with real-world studio footage and gaming visuals. In OGN’s live productions, viewers were able to see life-size 3D representations of players, game characters and pivotal in-game moments layered into the studio or stage environment.
What this meant in practice is that during major gaming events held in Seoul, the broadcast team incorporated virtual graphics — for example, stage-set pieces that would extend beyond the physical boundaries of the studio, augmented maps of the game arena, or visualisations of player profiles and achievements — that all appeared seamlessly anchored in the space. The technology used camera tracking, which allowed the physical camera movement to correspond with the virtual graphics, making the mix of real and virtual content look natural.
The advantages for OGN were compelling. First, the production value received a significant boost: the visuals were more spectacular, more modern and visually engaging than traditional overlay graphics. This helps in competitive markets — especially in esports — where viewer expectations are high, and the audience expects polished, dynamic presentations. Second, the AR element allowed better storytelling: player stats, team histories, in-game dynamics and critical match moments could be represented visually, giving the audience deeper insight rather than just raw commentary. Third, the workflow benefit: with the virtual graphics approach, OGN could create reusable assets, animate transitions, trigger dynamic visuals aligned with the narrative or game events — enabling faster, smoother transitions during live coverage.
For example, when a player scored a major kill or secured an objective, the broadcast could trigger a dramatic visual: the character model might appear behind the studio desk, or the map might animate to highlight territory control. Such visuals help bridge the gap between the game world and the broadcast world, making the experience more immersive for viewers. While I don’t have every detail of the exact visual setups used, the reporting makes clear that OGN was able to incorporate “life-size 3D graphics of the players and game characters” in its shows.
Another key factor: the virtual/AR setup meant that OGN didn’t need to rely solely on large physical sets or rely purely on static graphics. The studio space could be leveraged more flexibly, because the virtual elements could adapt to camera motion, studio lighting changes and live commentary. That flexibility is especially significant in live esports production, where timing is critical, events happen fast, and the broadcast must pivot quickly.
In sum, OGN’s deployment of virtual augmented-reality graphics exemplifies how an esports broadcaster can evolve from straightforward game-feed coverage to a high-end, immersive viewer experience. By integrating real-time 3D graphics, virtual set extensions and camera-tracked AR elements, OGN elevated both the aesthetic appeal and the storytelling ability of its broadcasts. For viewers, the result was a deeper connection to the event; for the broadcaster, the result was a stronger production brand and a more engaging broadcast product.
