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Production

Physical production under one banner, from tracked-camera LED volume work to vehicle process.

Tracked. In Engine.

Tracked-camera work in Unreal drives real-time parallax as the camera moves through the scene. The world holds its geometry, so backgrounds behave like locations, not backdrops. This is the core of shooting final pixels in camera.

Plates. Played Back.

For scenes that call for photographed backgrounds, we run 2D content off media-server playback. It is the faster path when a shot does not need tracked parallax. Same wall, different tool, chosen per scene.

Performance. Captured.

We handle performance and motion capture as part of the same production, not a separate vendor handoff. Talent, camera, and capture stay under one banner and one schedule. Data comes off set ready for the pipeline it feeds.

Vehicle. Process.

We run 2D and 3D vehicle process, from playback plates to fully tracked environments around the car. On-set operations management keeps the stage, the rig, and the day moving. The car sits still, the world moves, and it holds on the wall.

See For Yourself.

Watch a tracked move, a plate playback, and a vehicle process run on the same stage in one day. Nothing is subbed out and nothing waits on another vendor's calendar. One banner means the whole shoot answers to one team.

Physical production under one banner, from tracked-camera LED volume work to vehicle process.

Physical production,LED volume,Vehicle process,Motion capture

The whole shoot, one team.

3D on the wall

2D on the wall

Bodies and motion

Cars, done right

One banner, one set

Start a production

Bring the shoot to one stage and one team.

Start a production with us

Service

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One banner, one set of answers

Virtual production goes wrong at the handoffs. The stage vendor blames the content vendor, the content vendor blames the tracking vendor, and the production pays for the argument in shoot days. Running production, the volume, the art department and the capture under one roof removes the seams where projects usually stall.

Nothing is subbed out and nothing waits on another vendor's calendar.

Choosing how the wall is driven

Not every shot needs a game engine behind it. The choice between tracked 3D and played-back 2D is made per scene, on the merits.

Full 3D, tracked camera

Unreal Engine renders the environment to the camera's exact lens and position, so parallax resolves as the camera moves. The world holds its geometry and backgrounds behave like locations instead of backdrops. This is what makes final-pixel in-camera visual effects possible.

2D, media-server playback

Where a shot does not need tracked parallax, photographed content played back off a media server is faster, cheaper and often more photoreal. Same wall, different tool, chosen scene by scene rather than by ideology.

Vehicle process

Car work is the most common reason productions come to a volume, and the most commonly done badly. We run both 2D playback plates and fully tracked 3D environments around the vehicle, with on-set operations managing the stage, the rig and the turnaround between setups. The car sits still, the world moves, and the reflections behave because the environment wrapping the car is real photography or real geometry rather than a loop.

Performance and motion capture

Performance and motion capture run as part of the same production rather than a separate vendor booking. Talent, camera and capture stay on one schedule, and the data comes off set formatted for the pipeline that consumes it.

What production covers

Full 3D LED volume: tracked cameras, Unreal Engine, real-time parallax
2D LED volume: media-server playback for photographed backgrounds
On-set operations: stage management, brain bar, turnaround between setups
Performance and motion capture: in the same volume, on the same schedule
Vehicle process: 2D and 3D, plates or fully tracked environments