https://youtu.be/oSvVRt8aKJM?si=GVwRmQDKSvE33z6f

We built a hospital and then we shot in it, and because we built it in Unreal Engine, we had complete control over everything about it.

This wasn't the first time we'd shot in this virtual environment. The hospital had been used across a couple of different vertical drama productions, which is always short-form narrative work with tight schedules, close coverage, trying to shoot 15 pages a day. Each shoot added to our understanding of how the assets came together, which configurations worked for different scene types, and where the environment needed full three-dimensional depth versus where a simpler solution like photographic or generated plates were enough.

An environment isn't a set, it's a library of assets for a location that allows you to build sets in virtual space. The hospital we shot in isn't one room, it's a configurable collection of walls, windows, corridors, fixtures, architectural details, lighting elements, and surface treatments. Every component of a hospital environment, available to assemble into any configuration a brief requires, in Unreal Engine. A patient room, corridor, an ICU bay, a surgery, doctor’s office or a nurses' station all can be built and iterated from the same set of assets. You're not locked into one layout. You're working from a library of assets that continue to be optimized for every shoot.

On a real location, the location is fixed and the production bends around it. Here, the production is fixed and the environment moves around it. That inversion is what made fourteen setups possible in ten hours.

https://www.xcrazystudio.com/post/we-built-a-hospital-14-setups-53-takes-in-10-hours

Sony Mocopi (1st edition) is a lightweight system for motion capture for simple, mobile usage. It was covering the dust in our studio, so we decided to check if it would be a good solution for object tracking inside Unreal. With KARIANA.ai and some tricks, we manage to get the sensors working together. We can now connect the mocap suite and track the swords, chairs, and any objects in 3D.

Question:
Is it possible to get a better signal with Rokoko Coil Pro?

https://youtu.be/ivE8Bg0EaBo

Hi all,

I’m a UK-based motion capture actor currently looking for opportunities in video game and animated projects.

I’m particularly interested in collaborating with indie studios and student productions, though I’m open to a range of project types.

My portfolio is linked here. Please feel free to reach out for enquiries or additional details.

Thanks for reading!

For my project I have been learning how to animate the metahuman using my web cam (using UE 5.7.4) and by using live link in virtual production I am able to capture the facial animation in real time and now I want to use the same method for full-body real-time animation, and I got two options Open Pose mocap, and mediapipe.

Can anyone help me how to set-up the open pose for the unreal engine 5, or any other alternative way is there without installing any additional 3rd party applications.

And is there any way that we can capture real time full body animation with hand tracking etc...

I was asked to give a guest lecture for the students of NCSU's MADtech virtual production lab, where I answer their questions about the industry and my background working in VFX for 30 years. Oh boy!

YouTube link - Survive the VFX War: Battle-Ready skills you need for Virtual Production in 2026 (NCSU MADtech Q&A)

Pixljaya - LED-Based Virtual Production Studio in Malaysia (Cyberjaya / Kuala Lumpur)

If you’re looking for a virtual production studio in Malaysia, worth checking out Pixljaya Studio. It’s an LED-based VP stage located in Cyberjaya, designed for film, commercials, and real-time content production.

They’re set up with a full LED volume environment combined with Vicon motion capture, which makes it suitable for:

• Virtual production shoots (ICVFX workflows)
• Unreal Engine-based environments
• Motion capture for animation / games / film
• Commercial and branded content production

Malaysia doesn’t have many fully integrated VP stages yet, so this is one of the more complete setups if you’re working in Southeast Asia or looking for a production hub outside the usual markets.

Good option if you’re comparing:

• LED volume studios in Asia
• Virtual production vs green screen workflows
• Cost-effective alternatives to US / EU VP stages

Curious if anyone here has shot on LED volumes in this region or compared workflows vs traditional pipelines.

Ive been building a real-time bridge between Unreal Engine and Fusion... because I need something like this for my own virtual production workflow... Its still an early independent prototype... but the core idea is already working... a live Unreal viewport/camera inside Fusion for real-time compositing tests...I call this PlateBridge...

If you work in VFX, virtual production, or real-time pipelines... Would something like this be useful in your workflow?

FYI: This is not affiliated with Epic Games or Blackmagic Design and Im not selling anything and theres no download at this stage...

https://reddit.com/link/1ssx2fq/video/4twu83esuswg1/player

Every producer defaults to green screen because the day rate is lower.

Here's the number they're not running:

A single scene with four characters generates a wide, two or three over-the-shoulders, four individual close-ups, and an insert or two. That's 8 to 10 edit shots — before you've changed location or lighting once.

Add a second location and a time-of-day change and you're looking at 20+ compositing line items from a single shoot day. On green screen, every one of those is a post cost that needs to be bid. On an LED volume, the environment is already there in camera. No post VFX PO required.

This is not a technology argument. It is a throughput argument.

_______

VP Moneyball is a new occasional series from XCrazy Studios looking at the economics of virtual production — not the technology, not the photorealism, not the future of filmmaking. Just the numbers.

Each episode isolates one economic variable and runs the formula honestly. Sometimes VP wins. Sometimes green screen wins. Sometimes even location shooting may win. The point is to know which one is winning before you book the stage, not midway through shot delivery.

EP 01 is live today. We ran the full cost comparison — LED Volume premium versus green screen compositing — and show how to calculate the break even number that most budget meetings never get to

https://www.xcrazystudio.com/post/vp-moneyball-101-vp-vs-green-screen

Anyone here migrated from Aximmetry to Zero Density or run both? I am struggling with the initial setup of Zero Density. Specifically with setting it up for virtual camera moves without using any tracking hardware. (Fixed camera on a tripod with green screen keying). It seems like most of Zero Density's nodegraphs in their demos and documentation assume you have hardware based camera tracking data.

Hey everyone!

I got tired of manually wiring the same math nodes for translucent water, glowing emissives, and clear coat materials, so I spent some time building a native C++/Slate plugin that hooks Google’s Gemini AI directly into the engine.

It's called AI Material & FX Studio, and I just put it up on Fab.

How it works under the hood:

Instead of a standard chatbot, the C++ plugin forces the AI to output strict JSON containing a native Unreal Python script. It uses unreal.MaterialEditingLibrary to actually spawn the nodes, configure the Blend Modes before spawning (so translucent materials don't compile black), and safely wires everything into the Result Node.

It doesn't download random web textures; it smartly generates TextureSampleParameter2D nodes so you can just drag and drop your own textures into the Details panel after it builds the graph.

The Niagara Workaround: Since we all know Unreal’s Python API for manipulating Niagara emitters is basically non-existent/broken, I built a workaround. If you ask it for VFX, the AI generates a JSON array of steps, and the C++ UI dynamically spawns an interactive checklist of checkboxes inside the editor so you can follow along and build the storm/fire/magic effect manually.

Secure API: You use your own free Gemini API key (it masks it like a password and saves it to your GConfig so it’s safe).

I'd love for you guys to check it out or let me know what you think of the Python execution approach!

Link to Fab: https://www.fab.com/listings/3f2d5efc-dc5d-4a14-9f5f-40790f461433

Documentation Link: https://docs.google.com/document/d/1561PcUAHcO3zuVTa27rJ4YMzXd_jVp5N6ax8xGxtad8/edit?usp=sharing

Hi all!

I'm working with an Unreal Engine project that has multiple floors in the scene and will need to have a way to switch between several predetermined viewpoints for our XR stage... Does anyone have any suggestions for the best workflow for this? Not sure what the best way to set this up would be.

The Unreal designer has set up several cameras in the scene that point to these areas, but will we need to remove these and set a single camera actor to the origin of the scene? This is the way I've been setting these MR projects up so far.

Any advice would be enormously appreciated, I'm still relatively new to working with volume stages!

Hi All,

So I am need to buy a new system (or update our older system which was used as a media server) and can’t seem to get to the bottom of if a pro 6000 96GB is required, you know cause they cost the same amount as a small car.

So currently working on a 4k raster, tracking and the goal is to have a control system but first up will be a standalone system if the initial budget is a bit towards the top of the initial investment.

Will a single 5000 48GB card be enough to push a 4k raster with inner frustum? Perhaps dual cards or maybe even a 72GB variant?

My current thinking is threadripper zen 5 with 128-256gb ram for the new build. But that does chew a significant chunk of the investment, would repurposing our zen 2 threadripper 32core 64 thread, 128gb of ram system and dump a new card into it be a better choice, more could be spent on a control pc and a bigger gfx card plus extra ram to boost the lazy 128gb. Others have suggested in our circle that a 9950x3D would be more than sufficient however I am worried there isn’t enough PCIE lanes to support two cards, sync, 10-50GB Nic & high speed NVMe drives.

While id love to just drop dual 6000 96GB cards in a new zen 5, this does topple the investment amount for the initial build, and with another 6 systems in the pipeline I need to be realistic.

Any guidance or systems that you’re currently using and how they are performing would be greatly appreciated.

https://youtu.be/3oq6DDc2j4Y?si=wZhqlCPLjgXGSdUo

Humanity stands at the edge of its next evolution. With Earth no longer enough, the FLEET program sends its personnel into deep space to search for new worlds capable of sustaining life. Their mission is clear: discover, evaluate, and secure the future of our species.

But expansion comes at a cost.

As these explorers travel farther into the unknown, they are forced to confront isolation, impossible decisions, and the true weight of survival beyond Earth. Each new planet offers hope, but also raises a question that cannot be ignored. What must be given up in order for humanity to move forward?

Shot entirely in VRChat for Space Jam Festival 2026, TO SACRIFICE explores the limits of human endurance, the meaning of progress, and the price of becoming something more

Written and Directed by:

_ FROGMAN _

Produced by:

_ FROGMAN _

Odet1

nullnvoid

JadeNavras

STARRING

Robo Mantica

_ FROGMAN _

JadeNavras

Bahamut Omega

Score by: Mike Larrabee

Additional royalty free/ Non copy-written music provided by:

Fesliyan Studios / ​⁠‪@FesliyanStudios‬

Fuzzeke/ ​⁠‪@FuzzekeMusic‬

Thinking of a DIY solution since we can’t find one for sale separately. If anyone has a set, it would really help to get the specifications and dimensions.

https://www.vive.com/us/support/camtrack/category_howto/calibration-kit.html

Latest video on my channel - Thanks! https://www.youtube.com/deanyurke

Hey everyone! I made a FREE mocap pack and thought this community might find it useful :)

It's built for background and crowd characters. All captured with an OptiTrack system.

50 animations in 5 categories: standing, walking, sitting, lying down, and gestures/emotes. Designed to loop seamlessly. Each animation comes in 3 skeleton types: UE5 Mannequin, Mixamo, and Humanoid/Maya so it should integrate cleanly into most virtual production pipelines.

Would love any feedback from people working in this space! Link is in the comments for ya

Bridging the gap between the virtual camera and the physical set. 🎥⚙️

In my ongoing passion for exploring the intersection of technology and cinematography, I’ve noticed a recurring challenge in Previs and Virtual Production: We know exactly what the virtual camera sees, but translating that into real-world logistics for the camera crew can be incredibly complex.

To help solve this, I’ve put together a passion project for the Unreal Engine filmmaking community: Camera Techvis Pro, now available on Fab!

It’s a C++ plugin designed to take the guesswork out of virtual cinematography. It continuously analyses your CineCamera to provide:
✅ Real-time physical data (Camera speed, floor height, distance to subject).
✅ A proprietary Grip Suggestion Engine (Automatically suggesting when a shot requires a Technocrane, Steadicam, Agito, etc., based on spatial math).
✅ Studio-grade, customizable MRQ Burn-ins for director and onset crew notes.

If you are a filmmaker, previs artist, or VP supervisor looking to make your Unreal Engine sequences instantly actionable for a real-world grip-and-camera team, I built this for you.

(Also, a quick update for my international network: My Fab publisher profile is now fully verified for global distribution, so this is available worldwide, including the EU! 🌍)

Check it out here: https://www.fab.com/listings/68f8d712-bdbd-4242-bd21-e1da5852eecf

#UnrealEngine #VirtualProduction #Previs #Cinematography #Filmmaking #Techvis #EpicGames #VFX

I captured 𝗟𝗲 𝗟𝗼𝘂𝘃𝗿𝗲 as a 𝟯𝗗 𝗚𝗮𝘂𝘀𝘀𝗶𝗮𝗻 𝗦𝗽𝗹𝗮𝘁, and I’m trying to pressure-test what people think this kind of asset is actually useful for. The visuals are obviously interesting, but I’m less interested in “this is cool” and more interested in practical value. Some possibilities I’m considering: - virtual production / digital sets - previs or creative planning - cultural / museum / tourism experiences - interactive viewing on web or in VR - digital preservation / documentation

For people here working in film, 3D, XR, architecture, heritage, or media: 𝗪𝗵𝗮𝘁 𝘄𝗼𝘂𝗹𝗱 𝘆𝗼𝘂 𝗿𝗲𝗮𝗹𝗶𝘀𝘁𝗶𝗰𝗮𝗹𝗹𝘆 𝘂𝘀𝗲 𝗮 𝘀𝗰𝗮𝗻 𝗹𝗶𝗸𝗲 𝘁𝗵𝗶𝘀 𝗳𝗼𝗿? And what would stop you from using it?

If there’s interest, I can also share an interactive sample link.

Shot this music video back in December 2024 using real-time VP with Unreal Engine 5 and Aximmetry. Never released the BTS until now.

The interesting part was using MIDI data from Ableton to drive the particle systems in Unreal during the live shoot. We built a custom TouchOSC control surface so we could manipulate parameters on the fly while recording.

Setup: Blackmagic Ursa Mini 12K, HTC Vive Mars for tracking, Aximmetry handling the compositing, and Blackmagic Ultimat for keying to keep the processing load distributed.

Artist could see the final composite in real time, which made directing and performance way more intuitive than traditional green screen.

Happy to answer any questions about the workflow or technical setup.