XR stage production in Los Angeles for extended reality shoots, AR-augmented broadcast, mixed-reality brand content, and real-time CG-integrated film and television. LED volumes plus motion capture plus real-time compositing — delivered as in-camera shots that need zero post.
Beyond virtual production: XR stages let the camera move freely through a scene where physical talent, physical set pieces, and CG-rendered environments coexist in the same frame, composited live. For brands and productions that want the in-camera VFX moment to do something virtual production alone cannot.
The actor walks. The CG moves with them. The camera does not care.
OptiTrack 36-camera motion capture volume integrated with the LED stage so the inner frustum of the wall tracks not just the camera but any physical performer or prop with a marker. The CG character walking next to the actor on the wall moves with the actor in real time.
So the take is real. Not a 6-month composite.
The LED wall handles the background. A second pipeline overlays AR elements (floating UI, holograms, CG elements that pass in front of the actor) using Unreal Engine's real-time compositing tools. The director sees the final shot in viewfinder, not a pre-vis.
So creative iteration happens on set. Not in post.
For broadcast applications: AR-augmented broadcast where graphics, virtual environments, and physical talent are composited live for the stream. Used for sports broadcasts, news productions, and live entertainment shows where the studio set extends visually beyond what is physically there.
So the broadcast studio gets a budget that does not fit. And looks like it did.
A volume operator, a real-time graphics engineer for the Unreal scene, a mocap technician managing the OptiTrack volume, and a compositing supervisor managing the real-time AR overlay. The four work as one pipeline. Genlock verified at every camera and mocap change.
So the shot reads. The compositing is invisible.
An episodic TV pilot with a CG character interacting with live talent, 4 shoot days on a Culver City XR stage.
TV pilot · 4 daysA brand commercial for a tech company where the product floats next to the actor as an AR overlay, single shoot day.
tech commercial · AR overlayAn AR-augmented broadcast for a sports network pilot, 90 minutes of live broadcast with virtual environment around the studio.
broadcast pilot · 90minA music video with the artist performing alongside a CG-rendered band member, single-day shoot at our owned stage.
music video · CG bandA brand activation for a tech reveal where the audience saw the actor walking through a CG environment composited live for the press shot.
tech reveal · live pressThe same crew that runs a 4-day episodic TV pilot with CG-actor interaction runs a single-day brand commercial with an AR product overlay. The variables change. The discipline does not. OptiTrack 36-camera mocap volume. Unreal Engine 5 real-time compositing. Four specialists running as one pipeline. The shot lives in camera.
XR stage production is virtual production with the additional capability of compositing CG elements that move in front of and around physical talent. The actor walks through a doorway that does not exist. The CG character sits down in the empty chair next to them. The hologram floats over the product as the actor picks it up. None of it is composited in post. All of it is in the camera.
For a 4-day episodic TV pilot with CG character interaction, that is typically a 50-foot ROE Carbon Series LED curved wall plus a 36-camera OptiTrack mocap volume covering the talent area, Unreal Engine 5 on an nDisplay rendering cluster with real-time compositing nodes, ARRI Alexa 35 with OptiTrack Active markers on the body, and a 4-person XR crew managing the pipeline through every shot.
For a single-day brand commercial with AR product overlay, the rig flexes smaller — a 30-foot wide LED wall, a smaller 12-camera OptiTrack volume, one Unreal scene with a single AR compositing node, and a 3-person XR crew. Same in-camera result, same zero-post-compositing standard, smaller footprint.
Virtual production handles the background — the LED wall renders an environment the camera films against. XR adds real-time compositing of CG elements that move in front of and around the physical talent, plus motion capture so CG characters can interact with the live performer in the same shot. The deliverable is the same: in-camera shots that need zero post.
Yes — an OptiTrack 36-camera Active marker volume integrated with our LED stage. For larger volumes (60+ cameras), we partner with Vicon LA and the Center for the Future of Cinematic Storytelling for full-volume mocap work.
CG characters in the same shot as physical actors. AR overlays that pass in front of talent. Set extensions that respond to talent movement. Live broadcast augmentation. Any moment where what is composited in post-production for a typical film could happen in the take.
Both options. For productions with a VFX vendor already engaged, we run the live integration of their character assets into the XR pipeline. For productions without a VFX vendor, we work with three vetted LA VFX shops for character design and rigging, then handle the live-on-set integration ourselves.
Email hello@anydaylive.com with shoot dates, the format (TV, film, commercial, broadcast, brand activation), camera package, and a one-paragraph brief on the XR element — what physical talent needs to interact with, what CG needs to be in the shot, what the final deliverable looks like. We come back inside one business day with questions and a draft scope.
Send the brief. We'll send back the wall — and the CG.
Start a brief →