From Thursday, May 28th to Sunday, May 31st, 2026, the NHK Technology Research Laboratories held its “NHK TECH WEEK” event, which included the first-ever simultaneous hosting of two public events at the Science and Technology Research Laboratories: “NHK TECH WEEK Open House 2026” and “TECH EXPO 2026”.
This article will introduce the press preview held prior to the event.
What is the “light field method” adopted in the VR headset created by NHK…?
At this year’s NHK Science & Technology Research Laboratories Open House, the MoguraVR editorial team was most interested in this VR headset being developed by NHK Science & Technology Research Laboratories. Their goal is to create a VR headset that is thinner and less tiring to wear than conventional models, so we decided to try it out.
The exact weight is not currently public, and there is no head strap or anything similar; the user experiences it by holding the eyepiece with both hands. However, my impression from actually holding it was that it was quite light, and it seemed to be among the lightest of conventional VR headsets, which are generally considered “lightweight.”
The experience consisted of an explanation of the “light field method” used in this VR headset, followed by a hands-on experience of watching VR footage.
What impressed me most while watching was how the VR video was displayed as a collection of elemental images, as shown above.
While typical VR headsets create a sense of depth by using two displays to create a difference between the left and right sides, this VR headset achieves that “sense of depth” through a completely different mechanism, as shown in the image above.
Why is NHK currently using this light field method? Firstly, it’s because conventional VR’s dual-lens system can easily cause eye strain, and NHK is conscious of addressing this issue of “visual fatigue in VR.”
The reason why conventional VR systems using a dual-lens system cause visual fatigue is thought to be that the perceived depth position due to parallax does not match the position where the eye is focused. To solve this, this light field method is adopted, allowing users to naturally focus their eyes on what they want to see and blur what they are not looking at, just as they do when looking at objects in the real world. The aim is to create VR that is less tiring to watch for extended periods of time.
While it’s not a technology directly linked to easily understandable entertainment, the more you’re a VR user, the more you’ll understand the appeal of “VR that’s less tiring to watch for extended periods.”
However, my honest impression after trying it out is that focusing was considerably more difficult than with conventional VR headsets. If you deviate even slightly from the best viewing position, the individual image elements appear in their original form, resulting in vertical and horizontal lines appearing in the image, making it quite difficult to see. In terms of image quality, it doesn’t seem to be a priority compared to existing VR headsets at this stage, and it gives the impression of being purely in the research or prototype stage at this point.
Furthermore, looking at the technologies unveiled at this year’s NHK TECH WEEK, it appears that NHK, as a broadcasting station, has high expectations for the shooting and utilization of high-definition, wide-angle footage. It also seems that the practical need for a “VR headset that is comfortable to use for extended periods” for checking this footage is growing within the company.
I’m looking forward to seeing further efforts and research towards its practical application in the future.
Create shows featuring live and virtual talents anywhere!? Portable real-time avatar synthesis system
There was an exhibit showcasing a system that allows for the easy creation of programs in the format shown in this photo, using minimal equipment.
The movements of the woman wearing the VR headset on the right are reflected in the movements of the 3DCG avatar on the center screen.
The key point of this system is that the only camera needed on the real-world side is the 8K camera in the middle.
(The black equipment on the right side of the photo is an 8K camera.)
This fixed 8K camera allows us to shoot high-definition live-action footage, composite it with avatars, and create variations in the video by cropping it from various angles.
(Switcher operation screen. The diverse angles of view shown on the right are achieved with a single camera by cropping the captured footage.)
When using multiple cameras or cameras that are not fixed in place, it becomes necessary to use special sensors or consider synchronization, but by using just one fixed 8K camera, these considerations become unnecessary. This shooting and switcher system felt like a technological innovation that allowed for a simpler environment precisely because of improved camera specifications.
A future where you can see in 3D without VR equipment! Full-color transparent holograms.
The full-color transparent hologram gave me a sense of the future. In this image, the girl in the middle is a 3D image displayed through a glass substrate, while the bird and tree in the upper left are real figurines. In this way, it is possible to observe real objects and 3D images simultaneously.
This is a long-term project, and at this point…
- It doesn’t appear in color unless viewed from directly in front.
- Only still images can be displayed (3D images cannot be displayed).
Despite these limitations, the development is exciting to watch, as it seems that a richer range of expression will be possible once the actual object and full-color 3D images can be viewed simultaneously with the naked eye.
It’s hard to tell from the photo, but this hologram displayed a three-dimensional, full-color, 3D projection that appeared to be leaping out of the glass.
A futuristic device that lets you experience “changes in tactile sensation”!
This exhibit showcases a device whose tactile sensation changes depending on the light applied to it.
It aims to express human interaction and the tactile sensations of food, and I was intrigued by its potential compatibility with a variety of media and content, including television programs, games, and VR.
I actually tried experiencing the difference in tactile sensation between when the light was on and when it wasn’t, but at this stage, it was still a very subtle “Now that you mention it, maybe there is a slight difference…?” kind of feeling. I look forward to further developments in this research.
Remarkable progress in the use of AI in filming and editing / The production process for VR content and 2D video content is becoming more seamless.
What was particularly impressive about this year’s NHK TECH WEEK was how many AI-powered technologies for both filming and editing have reached the practical application stage.
For example, there was a search system that used AI to transcribe audio files. There was also a system that used AI to tag each scene of sports broadcast footage with “who did what and when,” and even automatically translated and transcribed player interviews spoken in various languages, enabling the smooth production of highlight videos.
As can be seen in the photos above, what was impressive was that the development seemed to be quite aligned with the practical needs of the production site.
There were exhibits of various AI-powered tools, but most focused on AI tools that assist in speeding up human creativity. This gave a very concrete glimpse into NHK’s enthusiasm and perspective on “how they are paying attention to AI technology and how they want to utilize it.”
On the other hand, when it comes to VR and reality, many systems were being developed based on the idea of ”first shooting as wide-angle and as high-resolution as possible, and then cutting out and using only the necessary parts,” taking into account the existence of high-resolution 360-degree cameras and 8K x 8K cameras, as well as the aforementioned “portable real-time avatar synthesis system.”
15K 360-degree camera (actual product)
Actual product of a small 8K x 8K camera
These efforts have progressed to the stage of considering and implementing specific content using these cameras, and it is abundantly clear that creators can now produce content ranging from 360-degree VR to 2D video content quite seamlessly.
Compared to last year’s exhibition, the two fields mentioned above have steadily evolved, and some have already been released as completed NHK-produced content, which I found to be remarkable.
While it was impressive to see how they were able to translate cutting-edge technology into practical, real-world applications, this year there seemed to be a slight decline in the number of exhibits showcasing truly unprecedented new technologies or projects that made you think, “Why is NHK developing something like this!?” compared to last year.
Whether it’s the reliable implementation of new technologies in production settings, the development of groundbreaking technologies based on incredibly niche ideas, or the creation of future technologies that will dramatically rewrite media history, looking 10, 50, or even 100 years into the future, we have high expectations for NHK and the NHK Science & Technology Research Laboratories.
We’ll be keeping a close eye on future developments.
Event period: Thursday, May 28th – Sunday, May 31st
10:00 AM – 5:00 PM (Last entry 30 minutes before closing)
Venue: NHK Science & Technology Research Laboratories (1-10-11 Kinuta, Setagaya-ku, Tokyo)
Admission: Free (No advance reservation required)
https://www.nhk.or.jp/strl/news/2025/5.html