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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