Virtual production stage rental and crew in Los Angeles for narrative film, episodic television, commercial production, music video, and brand virtual production. LED volume operation with ROE Carbon Series and Black Pearl panels, Unreal Engine 5 pipeline, camera tracking, and in-camera VFX delivered shot-day-ready.
Brompton Tessera SX40 processing tied to Unreal Engine 5 on the rendering pipeline, OptiTrack or Mo-Sys camera tracking integrated to the cameras, and a content engineering crew that handles the LED volume operation while your DP runs the camera.
The wall renders. The camera tracks. The shot lives in camera.
ROE Carbon Series CB5 (2.84mm pitch) or Black Pearl BP2v2 (2.84mm pitch) panels in curved and ceiling configurations sized to the camera coverage. Brompton Tessera SX40 processing genlocked to the camera shutter. Calibration for color reproduction on Sony Venice 2, ARRI Alexa 35, or RED Komodo at the DP's preferred ISO.
So the in-camera shot does not need a comp.
Unreal Engine 5 running on nDisplay across the rendering nodes. Inner frustum tracked to the camera so the high-resolution content lives only in the camera's view. Scene asset library managed shot-to-shot. Real-time lighting interaction between Unreal scene and physical talent on stage.
So the world the camera sees is the world the camera moves through.
OptiTrack Active markers or Mo-Sys StarTracker integrated to the camera body, with sub-millimeter accuracy. Tracking data routes to the Unreal Engine inner frustum in real time. Cooke /i or Zeiss Supreme Prime lens metadata captured for the post pipeline if any pickups are needed.
So the parallax in the wall matches the camera move.
A volume operator running the Brompton processing chain, a real-time graphics engineer running the Unreal nodes, and a stage technician managing color calibration across the panels through the shoot day. Genlock verified at every camera change. Content versioned shot-by-shot.
So the DP shoots the take. We hold the wall.
A streaming-platform episodic series on a Culver City virtual production stage, 6 shooting days, 28 environments rendered in Unreal Engine 5.
6 days · 28 environmentsA commercial spot for an automotive brand on a downtown LA volume, day-for-night driving sequence, custom HDR-mapped environment for the dashboard reflections.
auto · 1 day · drivingA music video shoot on a Hollywood soundstage volume, performance against a real-time generative environment that responded to the track.
music · audio-reactive UE5A film pickup day on a small-format volume in Burbank, 4 environments matched to footage shot a year earlier on location.
film pickups · 4 environmentsA brand virtual production for a CPG launch, 3 environments cycling per take, simultaneous IMAG delivery for a hybrid press audience.
brand · 3 environments · hybridThe same crew that runs a 6-day episodic series shoot with 28 Unreal Engine 5 environments on a Culver City virtual production stage runs a single-day commercial pickup with one custom HDR environment on a downtown LA volume. The variables change. The discipline does not. Volume panels color-calibrated for the camera. Unreal pipeline genlocked to the camera shutter. Camera tracking sub-millimeter accurate. Content engineering crew of three in the room every shoot day.
Virtual production stage work in Los Angeles is the discipline of delivering an in-camera VFX shot the moment the camera rolls. The DP gets the shot they want without a composite. The director gets the performance in-camera. The post team gets a clean ISO and a clean take. The wall renders, the camera tracks, the parallax matches, and the world the camera sees is the world the camera moves through.
For a 6-day episodic series shoot on a Culver City virtual production stage, that is typically a 25,000 sq-ft ROE Carbon Series LED volume in a curved-plus-ceiling configuration, Brompton Tessera SX40 processing genlocked at 24p, Unreal Engine 5 running on an nDisplay cluster of 12 rendering nodes, OptiTrack Active marker camera tracking, and a content engineering crew of three managing volume operation while the production crew shoots.
For a single-day commercial pickup on a smaller volume, the rig flexes to a focused-coverage setup — a 40-foot wide ROE Black Pearl curved wall, one Unreal scene rendered against one HDR-mapped environment, Mo-Sys StarTracker on the camera body, and a single content engineer managing the volume for the shoot day. Same discipline, smaller footprint, same in-camera VFX deliverable.
ROE Carbon Series CB5 (2.84mm pitch) is the on-camera workhorse — calibrated for color reproduction on Sony Venice 2, ARRI Alexa 35, and RED Komodo at the DP's preferred ISO. ROE Black Pearl BP2v2 (also 2.84mm pitch) for wider configurations where on-camera presence is less close-up. We size the volume panel choice to the camera coverage, not the other way around.
Yes. Unreal Engine 5 running on nDisplay across the rendering nodes, with inner frustum tracking so high-resolution content lives only in the camera's view. Scene asset library managed shot-to-shot. We work either with environments your team or VFX vendor delivers, or with environments built by our content design partner for the production.
OptiTrack Active markers or Mo-Sys StarTracker integrated to the camera body, with sub-millimeter accuracy. Tracking data routes to the Unreal Engine inner frustum in real time. Cooke /i or Zeiss Supreme Prime lens metadata captured for the post pipeline if any pickups are needed.
Yes. For brand virtual productions with a press audience or hybrid stream, we route a parallel broadcast feed off the Brompton processing chain to a switcher for IMAG delivery, while the primary volume feed continues to render for the in-camera shoot. The two pipelines stay independent so a switcher change does not affect the camera ISO.
Email hello@anydaylive.com with shoot dates, format (film, episodic, commercial, music video, brand), volume size needed, camera package, and a one-paragraph brief on the scene or environment count. We come back inside one business day with questions, a draft scope, a recommended volume configuration, and the names of the volume operator, the real-time graphics engineer, and the stage technician who would be in the room.
Send the brief. We'll render the wall — and hold the shot.
Start a brief →