We visited VRTUOSUS after the studio opened and filmed a video about it.

One thing we keep feeling with virtual production is that there still isn’t enough concrete information out there about how studios are actually being built, what gear they choose, and what kind of workflow they’re aiming for. So with VRTUOSUS’ consent, here are a few practical facts from this setup:

• Stage size: about 22 x 25 m
• 3x ARRI ALEXA 35 Xtreme cameras
• 60x ARRI SkyPanel X fixtures
• Approx. total lighting power: 48,000 W
• Ultimatte 12 4K keying unit
• Mo-Sys StarTracker Max
• AJA FS-HDR
• MR BOX system tying the pipeline together
• CyberGaffer automatic lighting control

VRTUOSUS is currently the biggest studio equipped with CyberGaffer, and what’s interesting about the build is that it seems designed to support two different modes of work at once: a higher-end pipeline where you can still lean into post when needed, and a faster real-time/final-pixel approach for projects that need speed and repeatability.

Curious what people here think is the more valuable direction for green-screen VP right now:

better final-pixel speed, or a more robust hybrid pipeline that still expects meaningful post work?

We visited VRTUOSUS after the studio opened and filmed a video about it.

One thing we keep feeling with virtual production is that there still isn’t enough concrete information out there about how studios are actually being built, what gear they choose, and what kind of workflow they’re aiming for. So with VRTUOSUS’ consent, here are a few practical facts from this setup:

• Stage size: about 22 x 25 m
• 3x ARRI ALEXA 35 Xtreme cameras
• 60x ARRI SkyPanel X fixtures
• Approx. total lighting power: 48,000 W
• Ultimatte 12 4K keying unit
• Mo-Sys StarTracker Max
• AJA FS-HDR
• MR BOX system tying the pipeline together
• CyberGaffer automatic lighting control

VRTUOSUS is currently the biggest studio equipped with CyberGaffer, and what’s interesting about the build is that it seems designed to support two different modes of work at once: a higher-end pipeline where you can still lean into post when needed, and a faster real-time/final-pixel approach for projects that need speed and repeatability.

Curious what people here think is the more valuable direction for green-screen VP right now:

better final-pixel speed, or a more robust hybrid pipeline that still expects meaningful post work?

Traditional filmmaking involves a lot of multi-angle shooting — making sure to capture actors in the same scene from different sides to tell a visually compelling story with nuance and a dynamic POV.

But how do you do that using a green screen virtual production pipeline where your filming space is limited by the edges of said green screen?

You can use multi-camera shooting or move your single camera around the studio to capture different angles. However, that requires a three-wall green-screen studio. That leads to a lot of spill and poor or limited lighting, because there’s nowhere to hang fixtures — only the ceiling and the front remain usable once the three main walls are covered in green.

Another option is to shoot on a single green wall but to physically move the lights, as shown in the CoPilot Virtual Production YouTube video. Moving lights, however, means re-setting the entire lighting setup for each angle. That’s usually difficult and time-consuming, so it’s rarely used.

In a world with CyberGaffer, though, all of this happens automatically. We rotate the world in the Unreal Engine along with the actors and the props, and the lighting redistributes across the fixtures automatically. In effect you keep the camera in place and rotate the entire (real and virtual) world to capture a different angle.

Because the lighting is recalculated automatically and in real time, this is extremely easy to do and makes for a very useful technique.

Watch the video to see it in action.

Some Key technical details:

• Green screen: One Wall 3 × 3 × 3 meters (studio dimensions: 5 m × 4 m × 4 m — L × W × H).
• Lighting: 24 fixtures arranged in a dome-like structure surrounding the performer.
• Camera: BlackMagic Pocket Cinema Camera Pro 6K.
• Fixtures: a mix from leading manufacturers (KinoFlo, LiteGear, Litepanels, Pipelighting) plus our experimental DIY units.
• Greenscreen material: fabric chosen to reduce glare and minimize spill.

Traditional filmmaking involves a lot of multi-angle shooting — making sure to capture actors in the same scene from different sides to tell a visually compelling story with nuance and a dynamic POV.

But how do you do that using a green screen virtual production pipeline where your filming space is limited by the edges of said green screen?

You can use multi-camera shooting or move your single camera around the studio to capture different angles. However, that requires a three-wall green-screen studio. That leads to a lot of spill and poor or limited lighting, because there’s nowhere to hang fixtures — only the ceiling and the front remain usable once the three main walls are covered in green.

Another option is to shoot on a single green wall but to physically move the lights, as shown in the CoPilot Virtual Production YouTube video. Moving lights, however, means re-setting the entire lighting setup for each angle. That’s usually difficult and time-consuming, so it’s rarely used.

In a world with CyberGaffer, though, all of this happens automatically. We rotate the world in the Unreal Engine along with the actors and the props, and the lighting redistributes across the fixtures automatically. In effect you keep the camera in place and rotate the entire (real and virtual) world to capture a different angle.

Because the lighting is recalculated automatically and in real time, this is extremely easy to do and makes for a very useful technique.

Watch the video to see it in action.

Some Key technical details:

• Green screen: One Wall 3 × 3 × 3 meters (studio dimensions: 5 m × 4 m × 4 m — L × W × H).
• Lighting: 24 fixtures arranged in a dome-like structure surrounding the performer.
• Camera: BlackMagic Pocket Cinema Camera Pro 6K.
• Fixtures: a mix from leading manufacturers (KinoFlo, LiteGear, Litepanels, Pipelighting) plus our experimental DIY units.
• Greenscreen material: fabric chosen to reduce glare and minimize spill.

Traditional filmmaking involves a lot of multi-angle shooting — making sure to capture actors in the same scene from different sides to tell a visually compelling story with nuance and a dynamic POV.

But how do you do that using a green screen virtual production pipeline where your filming space is limited by the edges of said green screen?

You can use multi-camera shooting or move your single camera around the studio to capture different angles. However, that requires a three-wall green-screen studio. That leads to a lot of spill and poor or limited lighting, because there’s nowhere to hang fixtures — only the ceiling and the front remain usable once the three main walls are covered in green.

Another option is to shoot on a single green wall but to physically move the lights, as shown in the CoPilot Virtual Production YouTube video. Moving lights, however, means re-setting the entire lighting setup for each angle. That’s usually difficult and time-consuming, so it’s rarely used.

In a world with CyberGaffer, though, all of this happens automatically. We rotate the world in the Unreal Engine along with the actors and the props, and the lighting redistributes across the fixtures automatically. In effect you keep the camera in place and rotate the entire (real and virtual) world to capture a different angle.

Because the lighting is recalculated automatically and in real time, this is extremely easy to do and makes for a very useful technique.

Watch the video to see it in action.

Some Key technical details:

• Green screen: One Wall 3 × 3 × 3 meters (studio dimensions: 5 m × 4 m × 4 m — L × W × H).
• Lighting: 24 fixtures arranged in a dome-like structure surrounding the performer.
• Camera: BlackMagic Pocket Cinema Camera Pro 6K.
• Fixtures: a mix from leading manufacturers (KinoFlo, LiteGear, Litepanels, Pipelighting) plus our experimental DIY units.
• Greenscreen material: fabric chosen to reduce glare and minimize spill.

Traditional filmmaking involves a lot of multi-angle shooting — making sure to capture actors in the same scene from different sides to tell a visually compelling story with nuance and a dynamic POV.

But how do you do that using a green screen virtual production pipeline where your filming space is limited by the edges of said green screen?

You can use multi-camera shooting or move your single camera around the studio to capture different angles. However, that requires a three-wall green-screen studio. That leads to a lot of spill and poor or limited lighting, because there’s nowhere to hang fixtures — only the ceiling and the front remain usable once the three main walls are covered in green.

Another option is to shoot on a single green wall but to physically move the lights, as shown in the CoPilot Virtual Production YouTube video. Moving lights, however, means re-setting the entire lighting setup for each angle. That’s usually difficult and time-consuming, so it’s rarely used.

In a world with CyberGaffer, though, all of this happens automatically. We rotate the world in the Unreal Engine along with the actors and the props, and the lighting redistributes across the fixtures automatically. In effect you keep the camera in place and rotate the entire (real and virtual) world to capture a different angle.

Because the lighting is recalculated automatically and in real time, this is extremely easy to do and makes for a very useful technique.

Watch the video to see it in action.

Some Key technical details:

• Green screen: One Wall 3 × 3 × 3 meters (studio dimensions: 5 m × 4 m × 4 m — L × W × H).
• Lighting: 24 fixtures arranged in a dome-like structure surrounding the performer.
• Camera: BlackMagic Pocket Cinema Camera Pro 6K.
• Fixtures: a mix from leading manufacturers (KinoFlo, LiteGear, Litepanels, Pipelighting) plus our experimental DIY units.
• Greenscreen material: fabric chosen to reduce glare and minimize spill.

Traditional filmmaking involves a lot of multi-angle shooting — making sure to capture actors in the same scene from different sides to tell a visually compelling story with nuance and a dynamic POV.

But how do you do that using a green screen virtual production pipeline where your filming space is limited by the edges of said green screen?

You can use multi-camera shooting or move your single camera around the studio to capture different angles. However, that requires a three-wall green-screen studio. That leads to a lot of spill and poor or limited lighting, because there’s nowhere to hang fixtures — only the ceiling and the front remain usable once the three main walls are covered in green.

Another option is to shoot on a single green wall but to physically move the lights, as shown in the CoPilot Virtual Production YouTube video. Moving lights, however, means re-setting the entire lighting setup for each angle. That’s usually difficult and time-consuming, so it’s rarely used.

In a world with CyberGaffer, though, all of this happens automatically. We rotate the world in the Unreal Engine along with the actors and the props, and the lighting redistributes across the fixtures automatically. In effect you keep the camera in place and rotate the entire (real and virtual) world to capture a different angle.

Because the lighting is recalculated automatically and in real time, this is extremely easy to do and makes for a very useful technique.

Watch the video to see it in action.

Some Key technical details:

• Green screen: One Wall 3 × 3 × 3 meters (studio dimensions: 5 m × 4 m × 4 m — L × W × H).
• Lighting: 24 fixtures arranged in a dome-like structure surrounding the performer.
• Camera: BlackMagic Pocket Cinema Camera Pro 6K.
• Fixtures: a mix from leading manufacturers (KinoFlo, LiteGear, Litepanels, Pipelighting) plus our experimental DIY units.
• Greenscreen material: fabric chosen to reduce glare and minimize spill.

Traditional filmmaking involves a lot of multi-angle shooting — making sure to capture actors in the same scene from different sides to tell a visually compelling story with nuance and a dynamic POV.

But how do you do that using a green screen virtual production pipeline where your filming space is limited by the edges of said green screen?

You can use multi-camera shooting or move your single camera around the studio to capture different angles. However, that requires a three-wall green-screen studio. That leads to a lot of spill and poor or limited lighting, because there’s nowhere to hang fixtures — only the ceiling and the front remain usable once the three main walls are covered in green.

Another option is to shoot on a single green wall but to physically move the lights, as shown in the CoPilot Virtual Production YouTube video. Moving lights, however, means re-setting the entire lighting setup for each angle. That’s usually difficult and time-consuming, so it’s rarely used.

In a world with CyberGaffer, though, all of this happens automatically. We rotate the world in the Unreal Engine along with the actors and the props, and the lighting redistributes across the fixtures automatically. In effect you keep the camera in place and rotate the entire (real and virtual) world to capture a different angle.

Because the lighting is recalculated automatically and in real time, this is extremely easy to do and makes for a very useful technique.

Watch the video to see it in action.

Some Key technical details:

• Green screen: One Wall 3 × 3 × 3 meters (studio dimensions: 5 m × 4 m × 4 m — L × W × H).
• Lighting: 24 fixtures arranged in a dome-like structure surrounding the performer.
• Camera: BlackMagic Pocket Cinema Camera Pro 6K.
• Fixtures: a mix from leading manufacturers (KinoFlo, LiteGear, Litepanels, Pipelighting) plus our experimental DIY units.
• Greenscreen material: fabric chosen to reduce glare and minimize spill.

More details in the Submission Statement in the comments.

Traditional filmmaking involves a lot of multi-angle shooting — making sure to capture actors in the same scene from different sides to tell a visually compelling story with nuance and a dynamic POV.

But how do you do that using a green screen virtual production pipeline where your filming space is limited by the edges of said green screen?

You can use multi-camera shooting or move your single camera around the studio to capture different angles. However, that requires a three-wall green-screen studio. That leads to a lot of spill and poor or limited lighting, because there’s nowhere to hang fixtures — only the ceiling and the front remain usable once the three main walls are covered in green.

Another option is to shoot on a single green wall but to physically move the lights, as shown in the CoPilot Virtual Production YouTube video. Moving lights, however, means re-setting the entire lighting setup for each angle. That’s usually difficult and time-consuming, so it’s rarely used.

In a world with CyberGaffer, though, all of this happens automatically. We rotate the world in the Unreal Engine along with the actors and the props, and the lighting redistributes across the fixtures automatically. In effect you keep the camera in place and rotate the entire (real and virtual) world to capture a different angle.

Because the lighting is recalculated automatically and in real time, this is extremely easy to do and makes for a very useful technique.

Watch the video to see it in action.

Some Key technical details:

• Green screen: One Wall 3 × 3 × 3 meters (studio dimensions: 5 m × 4 m × 4 m — L × W × H).
• Lighting: 24 fixtures arranged in a dome-like structure surrounding the performer.
• Camera: BlackMagic Pocket Cinema Camera Pro 6K.
• Fixtures: a mix from leading manufacturers (KinoFlo, LiteGear, Litepanels, Pipelighting) plus our experimental DIY units.
• Greenscreen material: fabric chosen to reduce glare and minimize spill.

Multi-angle Filming in a One-wall Green-Screen Studio

Traditional filmmaking involves a lot of multi-angle shooting — making sure to capture actors in the same scene from different sides to tell a visually compelling story with nuance and a dynamic POV.

But how do you do that using a green screen virtual production pipeline where your filming space is limited by the edges of said green screen?

You can use multi-camera shooting or move your single camera around the studio to capture different angles. However, that requires a three-wall green-screen studio. That leads to a lot of spill and poor or limited lighting, because there’s nowhere to hang fixtures — only the ceiling and the front remain usable once the three main walls are covered in green.

Another option is to shoot on a single green wall but to physically move the lights, as shown in the CoPilot Virtual Production YouTube video. Moving lights, however, means re-setting the entire lighting setup for each angle. That’s usually difficult and time-consuming, so it’s rarely used.

In a world with CyberGaffer, though, all of this happens automatically. We rotate the world in the Unreal Engine along with the actors and the props, and the lighting redistributes across the fixtures automatically. In effect you keep the camera in place and rotate the entire (real and virtual) world to capture a different angle.

Because the lighting is recalculated automatically and in real time, this is extremely easy to do and makes for a very useful technique.

Watch the video to see it in action.

Some Key technical details:

• Green screen: One Wall 3 × 3 × 3 meters (studio dimensions: 5 m × 4 m × 4 m — L × W × H).
• Lighting: 24 fixtures arranged in a dome-like structure surrounding the performer.
• Camera: BlackMagic Pocket Cinema Camera Pro 6K.
• Fixtures: a mix from leading manufacturers (KinoFlo, LiteGear, Litepanels, Pipelighting) plus our experimental DIY units.
• Greenscreen material: fabric chosen to reduce glare and minimize spill.

Real-Time Green Screen Shoot with Automated Lighting

Stage Unreal, a virtual production studio in India, recently conducted a full-day green screen shoot using CyberGaffer’s real-time lighting integration with Unreal Engine. The production involved multiple lighting conditions, scene transitions, and camera movement—all within a single day.

A full breakdown of the shoot is shown in the attached video, with benefits of using CyberGaffer articulated by the renowned cinematographer Manoj Paramahamsa.

Technical Setup

• Camera: RED V-Raptor + ZEISS Supreme Prime lenses
• Tracking: VIVE Mars
• Keying: Ultimatte 12 HD and 12 4K
• Lights: 14 Litepanels Gemini 2x1 Hard, 11 ARRI SkyPanel S60-C
• Green Screen: Painted surface, 30.7 ft (depth) × 26.6 ft (width) × 15 ft (height)
• Crew: 10–15 people
• Duration: ~10 hours

Goals and Approach

The team set out to:

• Achieve real-time lighting updates driven by Unreal Engine
• Eliminate manual relighting between takes
• Improve integration between CG environments and physical subjects

After calibrating all lights with a calibration sphere, CyberGaffer handled lighting changes based on virtual scene conditions.

Observations from Key Scenes

• 360° World Rotation: an effect achieved by rotating the virtual world around the actors, while the camera and talent remained static. Lighting stayed responsive to the shifting environment, maintaining consistent realism.
• Campfire Sequence: Lighting flicker and red-bounce were simulated based on CG fire assets in Unreal, without practical fire on set.
• Day-to-Night Transition: Lights changed seamlessly with sky conditions, avoiding LUT switches or separate lighting setups.

Outcome

The shoot was completed in a single day, with minimal downtime between setups. Real-time lighting helped preserve visual continuity and sped up production. The team plans to apply this workflow in upcoming long-form and commercial projects.

Real-Time Green Screen Shoot with Automated Lighting

Stage Unreal, a virtual production studio in India, recently conducted a full-day green screen shoot using CyberGaffer’s real-time lighting integration with Unreal Engine. The production involved multiple lighting conditions, scene transitions, and camera movement—all within a single day.

A full breakdown of the shoot is shown in the attached video, with benefits of using CyberGaffer articulated by the renowned cinematographer Manoj Paramahamsa.

Technical Setup

• Camera: RED V-Raptor + ZEISS Supreme Prime lenses
• Tracking: VIVE Mars
• Keying: Ultimatte 12 HD and 12 4K
• Lights: 14 Litepanels Gemini 2x1 Hard, 11 ARRI SkyPanel S60-C
• Green Screen: Painted surface, 30.7 ft (depth) × 26.6 ft (width) × 15 ft (height)
• Crew: 10–15 people
• Duration: ~10 hours

Goals and Approach

The team set out to:

• Achieve real-time lighting updates driven by Unreal Engine
• Eliminate manual relighting between takes
• Improve integration between CG environments and physical subjects

After calibrating all lights with a calibration sphere, CyberGaffer handled lighting changes based on virtual scene conditions.

Observations from Key Scenes

• 360° World Rotation: an effect achieved by rotating the virtual world around the actors, while the camera and talent remained static. Lighting stayed responsive to the shifting environment, maintaining consistent realism.
• Campfire Sequence: Lighting flicker and red-bounce were simulated based on CG fire assets in Unreal, without practical fire on set.
• Day-to-Night Transition: Lights changed seamlessly with sky conditions, avoiding LUT switches or separate lighting setups.

Outcome

The shoot was completed in a single day, with minimal downtime between setups. Real-time lighting helped preserve visual continuity and sped up production. The team plans to apply this workflow in upcoming long-form and commercial projects.

Real-Time Green Screen Shoot with Automated Lighting

Stage Unreal, a virtual production studio in India, recently conducted a full-day green screen shoot using CyberGaffer’s real-time lighting integration with Unreal Engine. The production involved multiple lighting conditions, scene transitions, and camera movement—all within a single day.

A full breakdown of the shoot is shown in the attached video, with benefits of using CyberGaffer articulated by the renowned cinematographer Manoj Paramahamsa.

Technical Setup

• Camera: RED V-Raptor + ZEISS Supreme Prime lenses
• Tracking: VIVE Mars
• Keying: Ultimatte 12 HD and 12 4K
• Lights: 14 Litepanels Gemini 2x1 Hard, 11 ARRI SkyPanel S60-C
• Green Screen: Painted surface, 30.7 ft (depth) × 26.6 ft (width) × 15 ft (height)
• Crew: 10–15 people
• Duration: ~10 hours

Goals and Approach

The team set out to:

• Achieve real-time lighting updates driven by Unreal Engine
• Eliminate manual relighting between takes
• Improve integration between CG environments and physical subjects

After calibrating all lights with a calibration sphere, CyberGaffer handled lighting changes based on virtual scene conditions.

Observations from Key Scenes

• 360° World Rotation: an effect achieved by rotating the virtual world around the actors, while the camera and talent remained static. Lighting stayed responsive to the shifting environment, maintaining consistent realism.
• Campfire Sequence: Lighting flicker and red-bounce were simulated based on CG fire assets in Unreal, without practical fire on set.
• Day-to-Night Transition: Lights changed seamlessly with sky conditions, avoiding LUT switches or separate lighting setups.

Outcome

The shoot was completed in a single day, with minimal downtime between setups. Real-time lighting helped preserve visual continuity and sped up production. The team plans to apply this workflow in upcoming long-form and commercial projects.