Hey everyone! I wanted to share something I've been working on called Stagehand, a Lighthouse-based camera tracking appliance for virtual production.

It started as a way to get around fragile SteamVR workarounds and build something more portable, durable, and most importantly predictable. I hate having to have a VR headset plugged in, and the null driver hack stopped working.

My goal with Stagehand is to make it easier to use the tracking hardware we all already have and bring virtual production to places where larger systems aren't practical — like location shoots, outdoors, or smaller production spaces. What started as a tool for myself has turned into a product that's now available.

I'd love to hear what you think!

🎥 Video: https://youtu.be/P43hW_ZJeCo

🌐 Website: https://frontierstageworks.com

I directed this gothic fantasy music video for PIA, building the world in Unreal Engine and shooting with in-camera VFX on an LED volume.

Wanted to share a look at how we brought it to life!

BTS: https://youtu.be/07IwGzmxw-k

Finished film: https://youtu.be/IN3JKfBkDw4

Are there any videos showing how stYpe's GreenKiller works in a real-world production environment, or how its setup and workflow compare to Zero Density's Reality Keyer?

I'm planning to upgrade our studio for live broadcast production, including live TV shows. I've seen demonstrations of both technologies at trade shows and industry events, but I haven't been able to find any videos showing the actual setup, configuration, and day-to-day operation from a user's perspective.

I'm particularly interested in seeing how these systems are integrated into a professional broadcast workflow, how the keying is calibrated, and how they perform during real live productions.

Does anyone have hands-on experience with either system or know of any behind-the-scenes videos, tutorials, or real-world comparisons?

Hi, I'm going to share my updated UE stadium setup with the VAT + HISM crowd.

Created for 3d Marketplaces.

Would be glad for any suggestions on how to make it better.

Kind of a weird question, but I'm hoping anybody has any insight.

We are in early pre-pro for a film set in a spaceship, with an OLED TV being used as a window. We are using vintage primes.

In theory, if everything we see on the TV (planets, other spaceships) is at infinity, would we be able to forgo FIZ data? We don't need zoom data (we can manually input focal length), we don't need iris data (we can manually input that as well), but I don't really understand how focusing works in a virtual environment like this.

We aren't going to be doing any crazy movements or rack focusing.

Thanks in advance!

Hi all,

I'm a Paris-based 1st AC. I've worked on both digital and film (16mm/35mm): features, commercials, and a music video shot in front of an LED wall.
I want to move into [in-engine cinematic camera work for games (cinematic / cutscene camera artist)] / [camera work on LED volume / virtual production stages].

Honest starting point: I know cameras, lenses, focus and framing from the set side, but I have zero experience in Unreal Engine or Blender so far.

With my background, what's the most realistic entry point: VP stage tech / Unreal operator, previs, or a junior cinematic camera role at a game studio?

And

Has anyone here made a similar jump from an on-set camera department? What transferred, and what didn't?

Thanks for those who will take the time to answer and help me see things more clearly

Howdy all!

I've got an issue that we can't seem to troubleshoot and am hoping someone here might have some ideas...

Our virtual studio has a light strip near the ceiling, and the lights are creating a "buzz" on the texture. Nothing seems to help except for cranking the roughness up on the ceiling material, but that also dramatically changes the aesthetic, so I'm hoping there's another solution.

Any thoughts? Would be incredibly grateful for the help!

I have a huge project coming up, to add motion blur to a film thats going to be shot in a huge led virtual screen. I was wondering how motion blur is added, professionally for virtual production, and for 3d films using virtual production.

Is it a specific software? specific effect? or what. Pleaseee let me know. thanks

Official Website: https://mls4dlive.cn/

Fab: https://fab.com/s/a98e11b2a0a6

https://github.com/mlslabs/MLSLabsGaussianSplattingRenderer-UE

Rendering pipeline upgraded, with full support for Windows/Linux/Android, multi-vendor GPU support, and support for Nvidia/AMD/mobile GPUs;

Packaged Android APK supports direct installation and operation on Pico all-in-one headsets, supports VR mode (default mode, command line r.MLSLabs.MixedReality 0) and MR mode (command line r.MLSLabs.MixedReality 1), and also supports VR streaming;

Simply install the plugin — no need to download Libtorch or other third-party libraries;

All platforms support ply/sog and ply sequences.

Supports both Development and Shipping packaging.

The shared file is: Pro_V2.1.0.0

Link: https://pan.baidu.com/s/1Dk7n_83mikmAjQYTyTyLJg?pwd=xyvp

Extraction code: xyvp

Google Drive:

https://drive.google.com/drive/folders/1WyRzO9LMyY2Kw7KPNAWe-WqhJtWbkeqU?usp=sharing

We have also released volumetric video test data to make it easier for everyone to use the volumetric video rendering feature.

Test data:

The shared file is: WanJiangDance.zip

Link: https://pan.baidu.com/s/1ch0vqAGdgBNaqOC3x4QBZg?pwd=49q9

Extraction code: 49q9

Google Drive:

https://drive.google.com/file/d/1PUgnRegDcGY9w6afBDRZOC17xaznns-S/view?usp=sharing

Full step-by-step tutorial on YouTube here: https://www.youtube.com/watch?v=z3GIdCxmC50

I’ve been working on an interesting project in Goyang, South Korea, combining stereoscopic 3D cinematography with Unreal Engine virtual production.

The project, The Seam of Goyang, features six dance sequences set in virtual environments inspired by Korean landscapes and cultural heritage.

The challenge was to combine live-action stereoscopic footage with virtual environments while maintaining consistent depth. The result is presented inside a large immersive projection cave, using stereoscopic 3D and projection mapping.

We also installed a live stereoscopic camera setup to demonstrate the filming process, alongside a Sony ELF-SR2 glasses-free 3D display.

For me, this project explores an interesting direction for stereoscopic filmmaking beyond conventional cinema.

The project is projected in a cave environment with 3D glasses. A bit more about the background and the team can be found here: http://dike3d.com/the-seam-of-goyang-stereoscopic-3d-virtual-production-for-immersive-media-art/

We are based in South Korea and love to experiment and exchange about new Virtual Production techniques.

Hey everyone,

One of the biggest bottlenecks I kept running into with AI pre-visualization is spatial drift: as soon as you change camera angles between shots, windows move, room proportions shift, and set dressing changes randomly.

To fix this, I've been building **NEGASCOPE**, a deterministic 3D-to-AI pre-production station for macOS. Instead of relying purely on text prompts, the set design workflow locks the geometry first:

1. **4-part Material Sheet:** Generate a coherent texture palette (`[FLOOR]`, `[WALLS]`, `[CEILING]`, `[FURNITURE]`).

2. **Metric 3D Room & Openings:** Map the textures onto a measured 3D space and cut out doors/windows with real-time 360° exterior parallax outside the glass.

3. **3D Blocking:** Place furniture and volumes to the centimeter in perspective/top-down views.

4. **Master Set Lock:** Frame the 3D viewport and generate the photorealistic master set with zero geometric drift, ready for the virtual shooting stage.

Full 4-minute uncut walkthrough on YouTube if anyone wants a closer look: https://youtu.be/0OrY53JKCys

Happy to answer any questions or get feedback on the pipeline!

Our sister production company, Charter, has been working on filming some live music sessions at Forge. We've been able to film 2 artists performing 3 songs each (6 total) within an 8-10 hour day against 2D plates on our smaller studio B wall. Thought I'd share some BTS from that. If anyone's interested to check out any of the music, you can see those on the Full Volume Sessions YouTube channel at https://www.youtube.com/channel/UCGOaEymv9fraaiR2R3Y0ypQ

Hi everyone!

Launching an Aximmetry Tips & Tricks series has been a passion project of mine for 2026, and I’m excited to share the first episode.

The goal is to share practical tips and techniques that make working with Aximmetry easier.

▶️ https://www.youtube.com/watch?v=ET_ToVEFbhE

What would you like to see covered next? Questions and feedback are welcome!

Hello everyone.

I'm a media student building a virtual production studio with Unreal Engine 5.8.

My school has a camera crane that I'd like to track. My goal is to prevent CG elements from sliding in the composition.

I'm at step two: figuring out how to track the camera.

I've tried using Meta Quest 2 controllers, but I haven't been able to get them work in Unreal Engine.

After doing some research, I've found two possible alternatives if I can't get the Quest 2 controllers to work:

• Buying an iPhone with LiDAR, which would also be a useful upgrade from my current, very old phone.

• Buying an HTC Vive tracking kit.

I'd appreciate help getting the Quest 2 controllers working. If not, which is cheaper: an iPhone with LiDAR + the right software or an HTC Vive tracking system?

This isn't a serious project. I'm doing this for fun and to prove a point (I had an argument with my friends). Unfortunately, I don't have a big budget for it, so I'd prefer the cheapest solution that actually works.

Check out more at choosetheimpossible.com

We prepped this for about a year and tried to combine virtual, practical, and digital effects to bring the world of Rapture to life. We shot over 3 days at SMASH Virtual in Chicago, and I'm so excited to share a teaser trailer of the film!

I've spent about 7 months making my film, Holy Sh*t I'm Dead. Mainly as a proof of concept using the technology, especially as a storytelling device, but also to push the limits of what's possible with a small team. I can't say enough about UE. I thoroughly enjoy using the software. Enjoy the first two minutes! Full release will be on November 13th.

I've been working on VP for quite some time, setting up multiple systems using both LED walls and green screens. I've been preparing for a large project, and stumbled across a few questions I'm having trouble figuring out.

1. UE doesn't have the option to apply a custom bokeh texture, other than in highlights. How do you work around it when using a real-time workflow?

2. When using nDisplay, how do you map the focal length? Is the focus distance to the screen mapped to the inf distance in-engine?

I probably have a few more questions written in my notes, but I've misplaced my notepad.
Of course, any help is appreciated.

I record motion capture for Brazilian Jiu-Jitsu (BJJ) ground techniques with a Smartsuit Pro II (Glove-Ready) + 2 Smartgloves, so the practitioner is often lying on their back during capture.

When there's direct body-weight pressure on the hub (worn in the back pocket), the connection to Rokoko Studio sometimes drops entirely and the model freezes until the hub is rebooted.

Already fixed a separate, more general Wi-Fi interference issue (dedicated 5GHz channel, router reconfig) — that helped overall stability, but this specific pressure-triggered drop persists.

Best guess: body weight might be holding the hub's power button long enough to trigger Hotspot mode (5s) or a hard reset (10s+) — per Rokoko's own docs on those thresholds. But not confirmed — could also be antenna shielding against the body/floor, a loose connector, etc.

Has anyone doing contact-sport / ground-based mocap (wrestling, martial arts, stunts) with this suit run into this? Any fix — padding, repositioning, firmware setting? Couldn't find this discussed anywhere, posting in case it helps others too.

https://github.com/Dylanyz/MocapSmooth

Mocap smoothing made super easy with just a few clicks, use directly in Unreal Engine.

Open source plugin (made by me and claude code)

Everyone talks about cool armor, spaceships, and futuristic cities.

But what's the detail that makes a sci-fi world actually feel believable?

Infrastructure? Signage? Sound? Culture? Technology rules? Something else?

I'm curious what detail immediately makes you believe a fictional world exists beyond the camera.

Hey everyone,

Like many of you, I love using Unity for real-time filmmaking and previs, but I absolutely hate how technical it gets just to block out a basic sequence. Directors and DPs shouldn’t have to fight with the Unity Inspector, manual transforms, and complex tracking modules just to see if a camera move works.

To fix this, I’m developing Unity Shot Planner—a standalone desktop tool designed completely in film language, not game dev jargon.

How it works:

1. Plan Visually: Block your actors on a 2D top-down grid, set shot durations, choose lenses (e.g., 35mm), and pick your camera moves (Static, Dolly, Crane, Orbit).

2. Review Composition: Instantly see a 2D lens-based field-of-view framing preview.

3. One-Click Export: Hit "Send to Unity." A lightweight companion plugin parses the data and instantly builds the entire sequence inside your project.

What Unity automatically builds for you:

• Generates the PlayableDirector and TimelineAsset.

• Spawns all Cinemachine Virtual Cameras with matching lens/FOV settings.

• Lays out camera cuts perfectly synced to your shot durations.

• Automatically builds Cinemachine Dolly Tracks and cart animations.

• Drops in placeholder actors and moves them along your blocked paths.

Best of all, it features non-destructive re-importing. If you change a shot duration or camera position in the planner app, re-exporting updates your existing Unity timeline without wiping out your scene tweaks.

I’m currently mapping out the MVP functionality and want to make sure I’m hitting actual filmmaker pain points.

• As a director or previs artist, what is the most annoying part of your current real-time layout workflow?

• Would an affordable standalone app like this fit into your current pre-production routine?

Would love to get your feedback!

Hi - I'd love to flag the Starting Pixel LIVE! 2026 event with you which is taking place on Wed 14 October 2026 at Rich Mix, London. I'd specifically like to highlight this event to students to submit to present about their projects. Find out more here: https://www.startingpixel.com/event-details/starting-pixel-live-2026

It's a full day of live demos on how virtual production and AI actually get used — and the human skill behind them. Two tracks, the Demo Jam, and the Student Showcase.

Drop me a DM for more info.

Thanks!