LED volume · virtual production
LED volume environments.
The worlds behind the actors. We design and build background content for LED-volume stages — most recently fourteen environments for Riyadh Air's official safety film, delivered in 22 days.
- Our role
- Background environments for the LED wall and ceiling
- Methods
- 3D, location photography, matte painting, stock extension, AI-assisted workflows
- Delivered
- Up to 11520×2304 per scene, HAP for real-time playback
- Rendering
- Our own farm — 40 RTX 4090 GPUs
The canvas
The background is in the shot.
On an LED volume, the world around the actors plays live on walls and ceiling panels and is captured in camera. There is no green screen to fix later. Whatever is on the wall on the day is what ends up in the film — and it also lights the set and reflects in every surface.
So the content has to be finished before the shoot, at the wall's full resolution, and it has to hold up through a real lens. That is the part we build.
What we've learned
What a volume asks for.
- Content that doesn't exist yetFor most locations, no footage exists anywhere near wall resolution. Expect every frame to be made — modelled, photographed, painted or generated.
- Choose the route per sceneWe start every scene in 3D. If it isn't holding up within two or three days, we switch to photography, matte painting or extended stock rather than lose the schedule.
- Compose for the wall layoutA wall built from separate panels has seams. On Riyadh Air, an aircraft split across three panels read as unsafe — so composition follows the wall, not the monitor.
- Learn the client's visual rules earlyAviation taught us: no dark clouds, at all. Every industry has its own version, and it is cheaper to know it on day one.
Featured project
Riyadh Air safety film.
Fourteen worlds for the airline's official safety film — Riyadh's skyline, the historic district of Diriyah, the cliffs of the Edge of the World, open sky — built by a team of six in 22 days and delivered at 11520×2304 in the HAP codec.
The studio shoot and final post-production were handled by partner teams; the environments on the wall were ours.
Process
How a volume job runs with us.
- Scene list and wall specEvery scene, its references, the wall's resolution and layout, and the playback format.
- A route for each scene3D first, with photography, matte painting, stock or AI as fallbacks — decided scene by scene.
- BuildEnvironments made at full wall resolution, reviewed against the panel layout.
- RenderingOn our own farm, so revisions close to the shoot don't wait in someone else's queue.
- DeliveryFinal files in the stage's playback codec, ready for the shoot day.
Questions
Before you book us.
Do you run the stage or the shoot?
No. We build the content that plays on the wall. The stage, the shoot and post-production are handled by the production and stage teams; we work to their wall layout and playback specification.
What do you need from us to start?
A scene list with references, the wall and ceiling resolution and layout, the playback codec, and the shoot date. That is enough for us to propose a route for each scene.
Our locations have no usable footage. Can you still do it?
That was most of Riyadh Air. We combined a rebuilt 3D city, location photography shot for the job, extended stock and AI-generated material to reach full wall resolution.
How fast can you deliver?
Fourteen environments took a team of six 22 days. The schedule depends on the number of scenes and how many can start from existing material — tell us your shoot date first.
Other large formats
Beyond the stage.
Shoot date set?