Network: The scores on the virtual doors ...

Eurovision has gone hi-tech. David Fox reports on the computer- generated 3D set

It may be a bit much to hope that next Saturday's Eurovision Song Contest will bring us new sounds, but it has got a new name and a new look. EuroSong '96, from Oslo, will also be the first chance many viewers have of seeing a "virtual studio" in action.

The presenters will be real, but the 3D animated set will be created by a computer. To do this, the stage will be covered by blue backing, with markers showing people where to stand. Computers will then generate a transparent score board that will emerge from the floor.

The 70-minute voting sequence will be the longest live virtual-reality programme ever broadcast, and NRK, the Norwegian broadcaster, admits it is taking quite a gamble with it. At least the possibility that everything goes horribly wrong will provide interest as we wait to see whether anyone gives Britain (Gina G's "Just a Little Bit") any points.

The Norwegians - famous for once achieving nuls points - reckon the collecting of the votes has traditionally been the most boring aspect of the finale. The assistant executive producer, Eva Rutgerson Bie, says the virtual studio "is a new and daring experience".

IMP Studio Hamburg, the co-producer, is the world's most experienced virtual-studio producer, with several regular shows on German TV. Silicon Graphics is providing the Onyx Infinite Reality supercomputers, while software comes from Discreet Logic of Canada.

Virtual studios allow broadcasters to create sets that would otherwise be impossible and to change them quickly. It also saves on rigging, storage, construction and maintenance, as one person can design, construct and rig a set in a week. An entire set can be stored on a disk or sent by modem for regional editions of a show.

The BBC uses simple virtual sets for its main news programmes, and BBC2's Working Lunch allows different views within its virtual reality environment. But these are pre-recorded effects. John Wollner, the BBC's head of TV Studio Production Resources, feels that real-time virtual studios are not good enough to be used outside news and sport. They are also expensive: an Onyx supercomputer costs pounds 250,000.

But the BBC has developed a system using low-cost 2D video effects to create a similar look. Although it cannot achieve 3D effects, "it is very applicable over a lot of programmes", Wollner says. With the BBC's limited budgets, the technology must pay its way, so the 2D box is being developed as a saleable product. However, he says, "3D has to be our ultimate goal". The BBC is working with Silicon Graphics and others on more sophisticated systems that will allow the use of hand-held cameras and give much higher resolution. This is important for drama productions usually shot on film.

The BBC is also considering using its virtual studio for factual programmes, and even a short drama, but only two productions have used it so far - The Multimedia Show and The Web, a children's nature show. David Wallis, producer of The Web, wanted it to look as natural as possible. He had seven weeks and very little money to create "a fantastic, organic, believable world", but found building the VR links "very quick, very efficient and very robust". But he considers the result crude compared to what would have been possible with more time and money.

Each specially created environment cost between pounds 7,000 and pounds 8,000, but prices should fall as processing power increases. In Wallis's opinion, the reality of VR is that "it's addictive, but a very expensive habit".

'EuroSong '96' is transmitted on BBC1 on Saturday 18 May. Its Web home page is at http://www.eurosong.nrk.no/english/