You ultimately walk away with the final shot with minimal to no compositing needed to be done during post-production, as we’ve achieved on our work on over 60 deployments. The nature of Virtual Production shooting means you can finalize each shot exactly to your liking on set then and there, so you won’t need any post-production. However, if for whatever reason you think you may want to change the background for a shot, for an additional charge, we can provide additional tech on set to capture positional data of the physical and virtual camera during your shoot so that you can update the background in post later. Alternatively, reshoots will be quick and easy by bringing your scene back to a stage, as we archive all scenes within our database.

Yes, as long as the camera plays nicely with the LED wall, you can use any camera you want. We recommend using cameras with global shutter settings and/or larger sensor sizes. Cameras we’ve had a lot of success in the past are: ARRI Alexa Mini LF, BlackMagic cameras, Canon C300, RED Komodo, Sony Venice, Panasonic Lumix GH5, iPhones with ability to change to 24 or 30 FPS. Depending on the camera tracking system, it can be mounted to your camera using a quarter inch thread/hot shoe mount or mounted above/below your camera. We can also support cellphones as well with a provided cellphone mount that has the tracker already appended.

Yes, however this will require extensive planning, please inquire. The nature of Virtual Production is such that single cam shooting can go much more quickly in the number of set ups per day, so many productions have found multi-cam shooting unnecessary.

Our screens begin at 6K resolution and go up from there depending on the specific configuration they’re in. The resolution density of our partner stages (1.5mm) tend to be far superior to similar providers using an older methodology, a result of our 6+ years of experience pioneering the in-camera effects industry and a constant future-focused strategy.

As big or as small as you like. If you are working with the Vive Pro systems, then your tracking volume can be up 35x35ft normally, or as small as a 10x10ft space, however we have circumvented these limitations. When working with stYpe, Noitom, or Mo-Sys tracking partner hardware; volumes are limited only by the available space.

We recommend not getting closer than 9ft to a 1.5mm pitch LED wall, otherwise you may begin to see moiré in the camera. The larger the pitch size the further back your camera will have to be, the general rule of thumb is to multiply the pitch size by 2000 to arrive at the recommended minimum distance from lens to screen (1.5mm x 2000 = 3 meters). However, keep this in mind as a general guideline as we’ve seen some cinematographers get closer to 1.5mm pitch LED walls without any issues.

The best place to shoot is away from direct sunlight or where the tracking hardware can easily track a space. Also, keep in mind that the power of a Virtual Production stage is that it can mimic exterior outdoor lighting as easily as it can with any other type of lighting set up.