CASE STUDY
CASE STUDY
SFX and Virtual Production
Can you use SFX on a Volume Stage? Absolutely.
One of the most frequent questions we are asked by clients and filmmakers whether it's possible to use SFX on an LED volume stage. Surely, with such a large and expensive LED wall in the studio, it's not possible to use water, haze, wind, smoke and flame? The short answer, surprisingly, is that you absolutely can.
One of the most frequent questions we are asked by clients and filmmakers whether it's possible to use SFX on an LED volume stage. Surely, with such a large and expensive LED wall in the studio, it's not possible to use water, haze, wind, smoke and flame? The short answer, surprisingly, is that you absolutely can.
During the final months of completing the V Studio in the first half of 2025, we shot a short vignette in order demonstrate the process of incorporating SFX into a volume shoot, and highlight just how much it can add to overall production value. During this shoot we threw wind, water, smoke, haze and real flame into the mix in order to really push the V studio to its limits.
During the final months of completing the V Studio in the first half of 2025, we shot a short vignette in order demonstrate the process of incorporating SFX into a volume shoot, and highlight just how much it can add to overall production value. During this shoot we threw wind, water, smoke, haze and real flame into the mix in order to really push the V studio to its limits.
Haze, as any cinematographer will tell you, is a valuable tool which can add instant atmosphere to any scene. The challenge with using haze in virtual production rests in ensuring the blend between any digital haze and physical haze in the room is seamless. Our team of experienced Unreal Artists are equipped with the digital tools to make sure the differentiation between the digital and the practical is imperceptible.
Haze, as any cinematographer will tell you, is a valuable tool which can add instant atmosphere to any scene. The challenge with using haze in virtual production rests in ensuring the blend between any digital haze and physical haze in the room is seamless. Our team of experienced Unreal Artists are equipped with the digital tools to make sure the differentiation between the digital and the practical is imperceptible.
Water, as one may expect, is not without its risks with such a large amount of electrical equipment nearby. However, safety is often simply a matter of careful planning, rehearsal, and adherence to safeguarding measures. On this shoot, we worked closely with DoP Ian Murray to bring his creative vision to life, and being able to use water on the floor of the set really elevated the cinematic feel of the visuals. The LED wall, along with our ceiling panel and wild wall, threw off dynamic, colour-matched reflections onto the wet surfaces with a full 360-degree effect, possible thanks to our in-house image-based Mimik lighting system.
Water, as one may expect, is not without its risks with such a large amount of electrical equipment nearby. However, safety is often simply a matter of careful planning, rehearsal, and adherence to safeguarding measures. On this shoot, we worked closely with DoP Ian Murray to bring his creative vision to life, and being able to use water on the floor of the set really elevated the cinematic feel of the visuals. The LED wall, along with our ceiling panel and wild wall, threw off dynamic, colour-matched reflections onto the wet surfaces with a full 360-degree effect, possible thanks to our in-house image-based Mimik lighting system.
Next, we threw in some dried leaves and litter, blasted around the scene with a wind machine – a staple of volume shoots everywhere. This allowed us to really sell the environment as an outdoor space in the midst of catastrophic wildfires, rather than the safe and comfortable studio in the heart of London it is.
Next, we threw in some dried leaves and litter, blasted around the scene with a wind machine – a staple of volume shoots everywhere. This allowed us to really sell the environment as an outdoor space in the midst of catastrophic wildfires, rather than the safe and comfortable studio in the heart of London it is.
On an SFX-heavy shoot, the cherry on top of the cake is using actual flame. Our team of 3D Artists created a custom environment in Unreal Engine with digital flame, which we then set to matching the practical SFX flame used on set. The final result, as you can see, is a scene fitting of a post-apocalyptic blockbuster by Michael Bay or Roland Emmerich, just with a far more modest footprint.
On an SFX-heavy shoot, the cherry on top of the cake is using actual flame. Our team of 3D Artists created a custom environment in Unreal Engine with digital flame, which we then set to matching the practical SFX flame used on set. The final result, as you can see, is a scene fitting of a post-apocalyptic blockbuster by Michael Bay or Roland Emmerich, just with a far more modest footprint.
Ready to recce?
Book a studio tour or request the full kit list.
Ready to recce?
Book a studio tour or request the full kit list.