Virtual Production
Explained
What it is, how it works, and why we built a studio around it in North Wales. Whether you're a filmmaker, an agency creative, or just VP-curious — this is everything you need to know.
Book a Studio VisitWhat Is Virtual Production?
Virtual production — VP for short — is a way of combining real-world footage with computer-generated environments in real time, on set, while the camera is rolling.
Instead of filming against a plain backdrop and hoping post-production can make it look right six months later, VP lets you see the final composite through the camera viewfinder as you shoot. The talent stands in a physical space, the camera captures them, and a real-time engine renders the digital world around them — all in the same take.
The technology behind it varies. Some studios use large LED walls (often called an LED volume) to display the environment directly on set. Others — like us at vedrí — specialise in real-time green screen compositing, where the digital environment is rendered and composited onto the green screen feed live using camera tracking data and a dedicated compositing system. We also source and manage LED volumes when a project calls for in-camera VP.
Either way, the core principle is the same: bring the digital and physical worlds together during production, not afterwards. The director, the DoP, and the client can all see what the final shot looks like while they're still on set — and make creative decisions accordingly.
VP has been used on everything from The Mandalorian and The Batman to corporate brand films and music videos. It's not science fiction anymore — it's a practical filmmaking tool, and it's more accessible than most people realise.
How Virtual Production Actually Works
VP isn't a single piece of kit — it's a workflow. Several technologies working together in real time to create a seamless composite. Here's what's happening behind the scenes at vedrí.
Camera Tracking
At the heart of our pipeline is a Mo-Sys StarTracker Max — a camera tracking system that reads a constellation of reflective markers on the studio ceiling and feeds precise positional and rotational data (six degrees of freedom) to the compositing and render systems at sub-frame latency. When the camera pans, tilts, or dollies, the virtual world moves in perfect sync. Without accurate tracking, the illusion falls apart instantly.
Real-Time Rendering
We build virtual environments in Unreal Engine (or Notch, depending on the project). The engine takes tracking data from the StarTracker and renders the 3D scene from the exact perspective of the physical camera — in real time. Lighting, reflections, parallax, depth of field — it's all computed on the fly. The environment isn't a flat backdrop; it's a fully three-dimensional world that responds to camera movement.
Live Compositing
The compositing engine — we use systems like Live FX — takes the camera feed, keys out the green screen in real time, and layers the talent into the rendered virtual environment. The result is a final-pixel (or near-final-pixel) composite visible on Rec 709 colour-matched monitors during the shoot. The director sees the finished shot, not raw green.
Interactive Lighting
LED reference lighting panels surrounding the set provide ambient colour wrap on the talent, matching the hue and intensity of the virtual environment. If the CG scene is a warm sunset, the practical lights shift warm to match. This is what sells the composite — without interactive lighting, the talent looks pasted in no matter how clean the key is.
Cinema-Grade Acquisition
All of this is captured through a Blackmagic Pyxis 6K cinema camera. The Pyxis gives us a large-format sensor with Blackmagic RAW recording — so the footage that comes off set is genuinely broadcast and cinema-grade material ready for colour grading and finishing.
Four Ways to Do Virtual Production
VP isn't one-size-fits-all. There are four main approaches, each suited to different project types, budgets, and creative requirements. At vedrí, we work across all four and recommend the right one based on your brief.
Green Screen with Real-Time Compositing
Our core in-house capability. A camera-tracked green screen stage with live compositing — the final composited image is visible on monitors as you shoot. Unlimited cameras, instant background swaps, and no frustum limitations. The most flexible and cost-effective VP approach.
2D Plates on LED Volume
An LED wall displays curated photographic backdrops (2D plates) behind the talent. The camera films the LED directly — natural light wrap, photorealistic backdrops, and rapid scene changes. We source and manage the LED volume, processing, and plate content.
3D Unreal Engine on LED Volume
The full cinematic VP experience. A tracked camera films against an LED volume running a real-time 3D environment in Unreal Engine — complete with parallax, interactive lighting, and perspective-correct backgrounds that respond to camera movement. Maximum immersion and fidelity.
Hybrid — Green Screen + LED
The best of both worlds. Use green screen compositing for multi-cam or high-volume scenes, then switch to an LED volume for hero cinematic moments. We plan the optimal split to maximise quality within your budget.
Comparing the Four Approaches
Every approach has trade-offs. Here's an honest breakdown so you can start thinking about which one fits your project — or let us help you figure it out.
| Green Screen | 2D Plates (LED) | 3D Unreal (LED) | Hybrid | |
|---|---|---|---|---|
| On-set result | Real-time composite on monitors | Final in-camera image | Final in-camera 3D with depth | Both |
| Camera flexibility | Unlimited angles | 1–2 cameras | 1–2 tracked cameras | Mixed |
| Background depth | Flat or layered parallax | Photorealistic flat plates | Full 3D parallax | Per scene |
| Scene change speed | Instant | Rapid | Moderate (more setup) | Varies |
| Light wrap on talent | LED reference panels | Natural from LED wall | Natural from LED wall | Best of both |
| Post-production | Minimal refinement | Minimal | Minimal | Light |
| Tracking needed | Optional to beneficial | Optional to beneficial | Recommended | Per scene |
| Build time | 5–7 working days | 3–5 working days | 2–4 weeks | 1–3 weeks |
| Budget | Lower (in-house) | Mid-range (LED hire) | Premium | Optimised |
| Podcast-friendly | Excellent (multi-cam) | Good (1–2 cam) | Premium option | Multi-cam + hero |
Not sure which approach fits your project? That's what we're here for. We'll talk through your brief and recommend the right setup — honestly, without pushing one approach over another.
Camera Tracking: Three Tiers
Camera tracking applies across all VP approaches — it's a spectrum, not a binary. Here's how we think about it.
Dynamic Scenes
When the background needs to react to camera movement — parallax, perspective shifts, interactive lighting. Essential for 3D Unreal on LED, and for any Steadicam, handheld, or tracking work. Without it, the virtual world and physical world fall apart.
Moderate Movement
When you're using a dolly, slider, or gimbal and subtle depth enhancement would lift the shot. Tracking adds parallax layering to green screen composites and helps match-move the virtual camera to physical movement. Not critical, but noticeably better.
Static Setups
Locked-off cameras, podcast formats, or flat backdrops. Tracking can still enhance the compositing, but the shot works fine without it. This keeps costs down on projects that don't need the extra dimension.
When Virtual Production Works Best
VP isn't the right answer for every shoot. But when the brief aligns, it's genuinely transformative. Here are the scenarios where it really earns its keep.
Multiple Locations, One Studio
Need to shoot in Tokyo, a warehouse, and a rooftop terrace — all in the same day? VP lets you switch environments in minutes without leaving the studio. No travel, no permits, no weather delays.
Brand & Commercial Content
Product launches, corporate films, branded content — these projects need controlled, repeatable environments with consistent lighting. VP delivers that while looking far more cinematic than a traditional studio backdrop.
Music Videos
Artists and directors love VP because it opens up visual worlds that would be impossible on a music video budget. Surreal landscapes, sci-fi cities, abstract environments — all rendered in real time around the performer.
Podcasts & Talk Shows
Multi-camera podcast setups are a natural fit for green screen VP. Every angle gets a live composited output, backgrounds can be branded or themed per episode, and scene changes happen between takes — not between studio builds.
Tight Turnarounds
When the deadline is aggressive and there's no time for lengthy post-production, VP front-loads the visual effects work. You leave the studio with footage that's already composited — or very close to it.
Controlled Environments
Hazardous locations, restricted access sites, or environments that simply don't exist — VP lets you place talent anywhere without the logistical headaches of actually going there.
Who's Behind a VP Shoot?
Virtual production isn't just about technology — it's about the people operating it. The crew requirements scale with the approach, but here are the key roles.
VP Supervisor
The bridge between the creative vision and the technical pipeline. They ensure tracking, compositing, and virtual environments all serve the director's intent — and troubleshoot when something doesn't behave as expected. Present on every vedrí shoot.
Compositor
Handles the real-time green screen key and compositing pipeline. They fine-tune key quality, manage edge blending, colour-match the talent to the virtual environment, and ensure the live composite looks clean on the director's monitor.
Unreal Engine Operator
Drives the virtual world in real time. They load environments, adjust lighting, tweak materials, and make live changes during the shoot based on the director's feedback. Essential for 3D LED shoots; valuable on green screen days too.
Virtual Art Department
The team that builds the 3D environments before the shoot. They model, texture, and light virtual worlds in Unreal Engine — working from concept art, location references, or the director's brief. This work happens in pre-production.
LED Technician
Manages the LED volume hardware — panel calibration, processor configuration (Brompton or Novastar), and on-set technical support. Required when we hire in an LED stage for 2D plate or 3D Unreal shoots.
Director & DoP
Their roles don't change — they still drive the creative. But in VP, they get to see the final image on set, which fundamentally changes the feedback loop. Decisions that used to wait for post now happen in real time.
At vedrí, our core team covers the VP Supervisor and Compositor roles in-house. For LED volume shoots and larger productions, we scale up with trusted specialists who know our pipeline.
What VP Can't Do
We're big believers in VP — we built a studio around it. But we also believe in being straight with you about its limitations.
Physical Scale
VP works within the physical boundaries of the studio. If your scene requires talent to run 50 metres or interact with a sprawling physical set, traditional location shooting or a larger stage might be more appropriate.
Complex Physical Interaction
Scenes where talent needs to physically touch, climb, or interact with elements that are part of the virtual environment require careful planning. We can build practical set pieces that blend with the CG world, but there are limits to what a green screen floor and a few props can sell.
LED Volume Frustum Limits
LED volumes typically support 1–2 tracked camera frustums. For multi-cam shoots with 3+ cameras, green screen compositing is the better choice — every angle gets a live composited output without frustum constraints.
LED Audio Considerations
LED panels generate screen noise that can affect audio recording. It's manageable with proper mitigation, but it's something to plan for on dialogue-heavy shoots using an LED volume.
Pre-Production Is Non-Negotiable
VP shifts a significant chunk of the creative work into pre-production. Virtual environments need to be built, tested, and approved before the shoot day. This isn't a limitation exactly — it usually makes the actual shoot faster and more efficient — but it does mean you can't just turn up and wing it.
Not Always the Right Tool
For a simple talking-head interview or a straightforward studio setup, VP might be overkill. The technology adds value when the visual environment is a key part of the story. If a plain backdrop or a practical set does the job, we'll tell you — save your budget for where it counts.
Planning a VP Production
The most successful VP shoots are the ones where the groundwork is done properly. Here's what the planning process typically looks like when you work with us.
Creative Brief & Approach Selection
It starts with a conversation. What's the project? What environments do you need? What's the mood, the camera style, the budget? We'll talk through the four VP approaches and recommend the right one for your brief — or a hybrid if the job calls for it. Sometimes VP isn't the answer at all, and we'll tell you that too.
Virtual Environment Development
Once the approach is locked, we build the virtual assets. For green screen and 3D LED work, that means Unreal Engine environments — custom-built from concept art, photo references, or a detailed brief. For 2D LED plates, it means sourcing or shooting the photographic backdrops and grading them to match the LED panel spec. Expect 2–3 revision rounds and a virtual walkthrough before sign-off.
Technical Pre-Vis & Camera Planning
We plan the camera positions, lens choices, and tracking coverage for each shot. This is where we work out the shooting arc, identify practical set pieces, and ensure the virtual environments are optimised for the angles we'll actually use. For 3D LED shoots, this includes a pre-visualisation session with the director — a virtual location scout.
Studio Test & Calibration
Before the shoot day, we run a technical rehearsal. The StarTracker is calibrated, lens profiles are loaded, the green screen key is dialled in, and the virtual environments are tested at full resolution through the live composite pipeline. For LED volume shoots, this includes a full day pre-light with LED-to-camera LUT calibration and colour pipeline setup.
Shoot Day
This is where it all comes together. Because so much preparation has been done upfront, shoot days tend to be remarkably efficient. Environment changes take minutes, not hours. The director can see the final image in real time. And if something needs adjusting — a sky colour, a building position, a time of day — it happens live, on set, in seconds.
Frequently Asked Questions
It depends on the approach and scope. A green screen shoot with pre-built environments is our most accessible option. 2D LED plate work sits in the mid-range. Full 3D Unreal on LED is the premium tier. We provide detailed quotes after an initial conversation about your brief — no vague ballparks, just a straight answer based on what you actually need.
Not at all. That's our job. You bring the creative vision — references, mood boards, descriptions, sketches, whatever works — and we translate that into a working virtual environment. Some clients love getting into the technical side, and we're happy to walk them through it. But it's absolutely not a prerequisite.
In principle, yes — though the camera needs to be compatible with our Mo-Sys StarTracker tracking system, and we'll need to calibrate lens profiles for it. Many productions use our Blackmagic Pyxis 6K because it's already fully integrated into the pipeline with Rec 709 colour-matched monitoring. We're happy to discuss the technical requirements for bringing your own gear.
It depends on the approach. Green screen environments typically take 5–7 working days. 2D plate preparation and grading takes 3–5 working days. Full 3D Unreal Engine environments for LED volumes take 2–4 weeks depending on complexity. We also maintain a library of pre-built environments that can be customised for faster turnarounds.
We're at DocShed in Gwynedd, North Wales. Yes, a virtual production studio in North Wales — we like the contrast. The location keeps our overheads sensible (which means better rates for you), and we're well connected by road and rail. London, Manchester, and Liverpool are all within reach for a day trip.
We source and manage LED volumes for projects that need in-camera VP. We handle everything — the LED hardware, Brompton or Novastar processing, Disguise media servers, colour calibration, and the specialist crew. You get the benefit of LED volume VP without having to coordinate the technical supply chain yourself. We'll advise honestly on whether LED is genuinely the right fit, or whether green screen compositing would give you a better result for your budget.
That used to be true — and it's still the perception in much of the industry. But one of the reasons we built vedrí the way we did is specifically to make VP accessible at mid-range budgets. Real-time green screen compositing has a lower barrier to entry than a full LED volume, and our North Wales base keeps costs down compared to London facilities. VP is increasingly viable for branded content, indie films, podcasts, and music videos.
Absolutely — and it's one of our strong suits. Green screen compositing supports unlimited camera angles, each with its own live composited output. LED volumes are typically limited to 1–2 tracked frustums, which makes them tricky for 3+ camera setups. For podcasts, green screen is usually the clear winner: multi-cam friendly, backgrounds swap between episodes instantly, and the cost is sensible.
Ready to See It in Person?
The best way to understand virtual production is to experience it. Book a studio visit and we'll walk you through the whole setup — no obligation, no hard sell, just a proper look at what VP can do for your project.
Book a Studio VisitVirtual Production
Explained
What it is, how it works, and why we built a studio around it in North Wales. Whether you're a filmmaker, an agency creative, or just VP-curious — this is everything you need to know.
Book a Studio VisitWhat Is Virtual Production?
Virtual production — VP for short — is a way of combining real-world footage with computer-generated environments in real time, on set, while the camera is rolling.
Instead of filming against a plain backdrop and hoping post-production can make it look right six months later, VP lets you see the final composite through the camera viewfinder as you shoot. The talent stands in a physical space, the camera captures them, and a real-time engine renders the digital world around them — all in the same take.
The technology behind it varies. Some studios use large LED walls (often called an LED volume) to display the environment directly on set. Others — like us at vedrí — specialise in real-time green screen compositing, where the digital environment is rendered and composited onto the green screen feed live using camera tracking data and a dedicated compositing system. We also source and manage LED volumes when a project calls for in-camera VP.
Either way, the core principle is the same: bring the digital and physical worlds together during production, not afterwards. The director, the DoP, and the client can all see what the final shot looks like while they're still on set — and make creative decisions accordingly.
VP has been used on everything from The Mandalorian and The Batman to corporate brand films and music videos. It's not science fiction anymore — it's a practical filmmaking tool, and it's more accessible than most people realise.
How Virtual Production Actually Works
VP isn't a single piece of kit — it's a workflow. Several technologies working together in real time to create a seamless composite. Here's what's happening behind the scenes at vedrí.
Camera Tracking
At the heart of our pipeline is a Mo-Sys StarTracker Max — a camera tracking system that reads a constellation of reflective markers on the studio ceiling and feeds precise positional and rotational data (six degrees of freedom) to the compositing and render systems at sub-frame latency. When the camera pans, tilts, or dollies, the virtual world moves in perfect sync.
Real-Time Rendering
We build virtual environments in Unreal Engine (or Notch, depending on the project). The engine takes tracking data from the StarTracker and renders the 3D scene from the exact perspective of the physical camera — in real time. Lighting, reflections, parallax, depth of field — it's all computed on the fly.
Live Compositing
The compositing engine — we use systems like Disguise and Pixotope — takes the camera feed, keys out the green screen in real time, and layers the talent into the rendered virtual environment. The result is a final-pixel composite visible on Rec 709 colour-matched monitors during the shoot.
Interactive Lighting
LED reference lighting panels surrounding the set provide ambient colour wrap on the talent, matching the hue and intensity of the virtual environment. If the CG scene is a warm sunset, the practical lights shift warm to match. This is what sells the composite.
Cinema-Grade Acquisition
All of this is captured through a Blackmagic Pyxis 6K cinema camera — large-format sensor, Blackmagic RAW recording, genuinely broadcast and cinema-grade material ready for colour grading and finishing.
Four Ways to Do Virtual Production
VP isn't one-size-fits-all. There are four main approaches, each suited to different project types, budgets, and creative requirements. At vedrí, we work across all four.
Green Screen with Real-Time Compositing
Our core in-house capability. Camera-tracked green screen with live compositing — the final image is visible on monitors as you shoot. Unlimited cameras, instant background swaps, no frustum limitations.
2D Plates on LED Volume
An LED wall displays curated photographic backdrops behind the talent. The camera films the LED directly — natural light wrap, photorealistic backdrops, rapid scene changes.
3D Unreal Engine on LED Volume
The full cinematic VP experience. A tracked camera films against an LED volume running a real-time 3D environment — complete with parallax, interactive lighting, and perspective-correct backgrounds.
Hybrid — Green Screen + LED
The best of both worlds. Green screen for multi-cam or high-volume scenes, LED volume for hero cinematic moments. We plan the optimal split for your budget.
Comparing the Four Approaches
Every approach has trade-offs. Here's an honest breakdown.
Green Screen
2D Plates (LED)
3D Unreal (LED)
Hybrid
Not sure which approach fits? We'll talk through your brief and recommend the right setup.
Camera Tracking: Three Tiers
Camera tracking applies across all VP approaches — it's a spectrum, not a binary.
Dynamic Scenes
When the background needs to react to camera movement — parallax, perspective shifts, interactive lighting. Essential for 3D Unreal on LED, and for any Steadicam, handheld, or tracking work.
Moderate Movement
Dolly, slider, or gimbal work where subtle depth enhancement lifts the shot. Tracking adds parallax layering and helps match-move the virtual camera.
Static Setups
Locked-off cameras, podcast formats, or flat backdrops. The shot works fine without tracking — this keeps costs down on projects that don't need the extra dimension.
When Virtual Production Works Best
VP isn't the right answer for every shoot. But when the brief aligns, it's genuinely transformative.
Multiple Locations, One Studio
Shoot in Tokyo, a warehouse, and a rooftop terrace — all in the same day. No travel, no permits, no weather delays.
Brand & Commercial Content
Controlled, repeatable environments with consistent lighting — far more cinematic than a traditional studio backdrop.
Music Videos
Visual worlds that would be impossible on a music video budget — surreal landscapes, sci-fi cities, abstract environments rendered in real time.
Podcasts & Talk Shows
Every angle gets a live composited output. Backgrounds can be branded per episode, scene changes happen between takes.
Tight Turnarounds
VP front-loads the visual effects work. You leave the studio with footage that's already composited — or very close to it.
Controlled Environments
Hazardous locations, restricted access sites, or environments that don't exist — VP handles it without the logistical headaches.
Who's Behind a VP Shoot?
The crew requirements scale with the approach, but here are the key roles.
VP Supervisor
The bridge between creative vision and technical pipeline. Present on every vedrí shoot.
Compositor
Handles real-time green screen key, edge blending, and colour-matching talent to the virtual environment.
Unreal Engine Operator
Drives the virtual world in real time — loading environments, adjusting lighting, making live changes on set.
Virtual Art Department
Builds the 3D environments in pre-production from concept art, location references, or the director's brief.
LED Technician
Manages LED volume hardware — panel calibration, processor configuration, on-set technical support.
Director & DoP
Their roles don't change — but in VP, they see the final image on set. The feedback loop is fundamentally different.
Our core team covers VP Supervisor and Compositor in-house. For LED shoots, we scale up with trusted specialists.
What VP Can't Do
We're big believers in VP — we built a studio around it. But we also believe in being straight with you about its limitations.
Physical Scale
VP works within the physical boundaries of the studio. If your scene requires talent to run 50 metres or interact with a sprawling physical set, traditional location shooting might be more appropriate.
Complex Physical Interaction
Scenes where talent needs to physically touch or interact with virtual elements require careful planning. We can build practical set pieces that blend with the CG world, but there are limits.
LED Volume Frustum Limits
LED volumes typically support 1–2 tracked camera frustums. For multi-cam with 3+ cameras, green screen compositing is the better choice.
LED Audio Considerations
LED panels generate screen noise that can affect audio recording. Manageable with proper mitigation, but something to plan for.
Pre-Production Is Non-Negotiable
Virtual environments need to be built, tested, and approved before the shoot day. You can't just turn up and wing it — but this usually makes the actual shoot faster.
Not Always the Right Tool
For a simple talking-head interview, VP might be overkill. If a plain backdrop does the job, we'll tell you — save your budget for where it counts.
Planning a VP Production
The most successful VP shoots are the ones where the groundwork is done properly.
Creative Brief & Approach Selection
It starts with a conversation. We'll talk through the four VP approaches and recommend the right one — or a hybrid if the job calls for it. Sometimes VP isn't the answer at all, and we'll tell you that too.
Virtual Environment Development
We build the virtual assets — Unreal Engine environments or 2D plates — custom-built from concept art, photo references, or a detailed brief. Expect 2–3 revision rounds and a virtual walkthrough before sign-off.
Technical Pre-Vis & Camera Planning
Camera positions, lens choices, tracking coverage for each shot. For 3D LED shoots, this includes a pre-visualisation session — a virtual location scout.
Studio Test & Calibration
StarTracker calibration, lens profiles, green screen key dialled in, environments tested at full resolution. For LED shoots, a full day pre-light with colour pipeline setup.
Shoot Day
Because so much preparation is done upfront, shoot days are remarkably efficient. Environment changes take minutes. If something needs adjusting — it happens live, on set, in seconds.
Frequently Asked Questions
It depends on the approach and scope. Green screen is our most accessible option, 2D LED sits mid-range, and full 3D Unreal on LED is the premium tier. We provide detailed quotes after an initial conversation — no vague ballparks.
Not at all. You bring the creative vision — references, mood boards, sketches — and we translate that into a working virtual environment.
In principle, yes — though the camera needs to be compatible with our Mo-Sys StarTracker. Many productions use our Blackmagic Pyxis 6K because it's already fully integrated.
Green screen environments: 5–7 working days. 2D plates: 3–5 working days. Full 3D Unreal: 2–4 weeks. We also have pre-built environments for faster turnarounds.
DocShed, Gwynedd, North Wales. The location keeps our overheads sensible — which means better rates for you. London, Manchester, and Liverpool are all within reach.
We source and manage LED volumes — hardware, processing, colour calibration, specialist crew. You get LED volume VP without coordinating the supply chain yourself.
Not anymore. Real-time green screen compositing has a lower barrier to entry than a full LED volume, and our North Wales base keeps costs down. VP is viable for branded content, indie films, podcasts, and music videos.
Absolutely. Green screen compositing supports unlimited camera angles, each with a live composited output. Backgrounds swap between episodes instantly and the cost is sensible.
Ready to See It in Person?
Book a studio visit and we'll walk you through the whole setup — no obligation, no hard sell.
Book a Studio Visit
