CASE STUDY
CASE STUDY
VP-Driven Press Junkets
How the V Studio elevates podcasts: a case study for Netflix titles Peaky Blinders: The Immortal Man and Bridgerton Season 4
When global streaming platforms like Netflix are creating companion content for their biggest releases, press junkets and official video podcasts are a key part of the mix.
For junkets in particular, luxury hotel suites have traditionally been used as filming locations. A-list cast are in comfortable surroundings, and high-end hotel interiors provide a sumptuous, if familiar, look on-camera.
Today however, creative campaign managers are increasingly turning to virtual production solutions to elevate their junkets and podcasts and help their title stand out from the crowd. The result: the traditional press junket is transformed into a cinematic work in its own right.
When global streaming platforms like Netflix are creating companion content for their biggest releases, press junkets and official video podcasts are a key part of the mix.
For junkets in particular, luxury hotel suites have traditionally been used as filming locations. A-list cast are in comfortable surroundings, and high-end hotel interiors provide a sumptuous, if familiar, look on-camera.
Today however, creative campaign managers are increasingly turning to virtual production solutions to elevate their junkets and podcasts and help their title stand out from the crowd. The result: the traditional press junket is transformed into a cinematic work in its own right.
The V Studio at Film Soho was recently called upon by Netflix to provide a new home for their press junket activity to support two of their most highly anticipated releases of winter 2025/26. Bridgerton Season 4 and Peaky Blinders: The Immortal Man.
The stars who were supporting these releases, Cillian Murphy, Barry Keoghan, Rebecca Ferguson and Allison Hammond (to name a few) were offered as comfortable a welcome as any hotel, with an equally convenient location.
The V Studio at Film Soho is central-London’s newest virtual production facility, located in the heart of Soho, just a stone’s throw from where the traditional junket hotels are located. Our state of the art volume stage offers the best of both worlds: a controlled, comfortable studio environment, allowing for the creation of something visually rich, scalable, and efficient.
The V Studio’s team of experts has jam-packed the facility with the latest and best in virtual production technology to support the creation of remarkable, high-production value content. In each of the below examples, the V Studio hosted these star-studded multi-camera productions, creating cinematic, world-appropriate environments.
The V Studio at Film Soho was recently called upon by Netflix to provide a new home for their press junket activity to support two of their most highly anticipated releases of winter 2025/26. Bridgerton Season 4 and Peaky Blinders: The Immortal Man.
The stars who were supporting these releases, Cillian Murphy, Barry Keoghan, Rebecca Ferguson and Allison Hammond (to name a few) were offered as comfortable a welcome as any hotel, with an equally convenient location.
The V Studio at Film Soho is central-London’s newest virtual production facility, located in the heart of Soho, just a stone’s throw from where the traditional junket hotels are located. Our state of the art volume stage offers the best of both worlds: a controlled, comfortable studio environment, allowing for the creation of something visually rich, scalable, and efficient.
The V Studio’s team of experts has jam-packed the facility with the latest and best in virtual production technology to support the creation of remarkable, high-production value content. In each of the below examples, the V Studio hosted these star-studded multi-camera productions, creating cinematic, world-appropriate environments.
Setting the Stage for Multi-Camera Conversation
Setting the Stage for Multi-Camera Conversation
At the core of our studio is a 1.5mm pixel pitch Absen LED wall, ideal for multi-camera cross-shooting (interviews, panels, podcasts).
For press junkets and podcasts, a key advantage is proximity, and cameras can shoot close to our high-res wall without moiré or artefacting. This gives directors and cinematographers greater freedom over lens choice and framing, something critical for formats built on close-ups, eyelines, and conversational coverage.
At the core of our studio is a 1.5mm pixel pitch Absen LED wall, ideal for multi-camera cross-shooting (interviews, panels, podcasts).
For press junkets and podcasts, a key advantage is proximity, and cameras can shoot close to our high-res wall without moiré or artefacting. This gives directors and cinematographers greater freedom over lens choice and framing, something critical for formats built on close-ups, eyelines, and conversational coverage.
Mixed-Resolution Plate Workflow
Mixed-Resolution Plate Workflow
For both the Bridgerton Season 4 and Peaky Blinders: The Immortal Man companion podcasts, we used a combination of 8K, 10K, and 12K high-resolution background plates, assigned to different camera perspectives based on framing and coverage requirements.
This mixed-resolution approach keeps backgrounds convincingly sharp and artefact-free across every angle, from the tightest close-up to the widest two-shot while managing the processing load across our Assimilate Live FX Media Server efficiently.
For both the Bridgerton Season 4 and Peaky Blinders: The Immortal Man companion podcasts, we used a combination of 8K, 10K, and 12K high-resolution background plates, assigned to different camera perspectives based on framing and coverage requirements.
This mixed-resolution approach keeps backgrounds convincingly sharp and artefact-free across every angle, from the tightest close-up to the widest two-shot while managing the processing load across our Assimilate Live FX Media Server efficiently.
Bridgerton: Extending the World Beyond the Frame
Bridgerton: Extending the World Beyond the Frame
For hit Netflix returning series, Bridgerton Season 4, Luca Productions approached us with an ambitious creative brief for the multi-camera companion podcast. The starting point was a photographic plate captured during principal photography.
Our first task was to augment the plate with some VFX magic, firstly by creating moving elements for enhanced dynamism, and then building out the 2D still into a panoramic plate including 3D elements. This ensured that the multiple perspectives captured by the shoot’s four cameras looked correct.
For hit Netflix returning series, Bridgerton Season 4, Luca Productions approached us with an ambitious creative brief for the multi-camera companion podcast. The starting point was a photographic plate captured during principal photography.
Our first task was to augment the plate with some VFX magic, firstly by creating moving elements for enhanced dynamism, and then building out the 2D still into a panoramic plate including 3D elements. This ensured that the multiple perspectives captured by the shoot’s four cameras looked correct.
The Brief & Starting Point
The client supplied a high-resolution plate of the Georgian mansion used as Bridgerton House; an iconic visual anchor for the series. However, as with many location plates, it wasn’t designed for multi-camera coverage, close-up interview framing or extended lateral composition across a wide LED canvas.
To work in a VP environment, the image needed to function as a spatially believable, flexible world.
The client supplied a high-resolution plate of the Georgian mansion used as Bridgerton House; an iconic visual anchor for the series. However, as with many location plates, it wasn’t designed for multi-camera coverage, close-up interview framing or extended lateral composition across a wide LED canvas.
To work in a VP environment, the image needed to function as a spatially believable, flexible world.
Building Out the Environment
We extended the original plate into a wider, more dynamic setting by:
Adding 3D “wings” to the street
Expanding the environment laterally provided the director with the camera angles she wanted. This greater camera freedom also prevented the image from feeling “boxed in” on wider shots.Enhancing period authenticity through VFX
Modern electric lighting visible in the windows on the original plate was replaced with subtle, flickering Georgian candlelight, bringing the image in line with the historical reality of the show’s era.Introducing environmental movement
Gentle wind animation was added to the wisteria across the façade, giving the scene a natural softness and preventing the still plate from feeling static on camera.
These details are often imperceptible on an individual level, but collectively they help to sell the illusion, especially in a conversational format where the background sits in frame for extended periods.
We extended the original plate into a wider, more dynamic setting by:
Adding 3D “wings” to the street
Expanding the environment laterally provided the director with the camera angles she wanted. This greater camera freedom also prevented the image from feeling “boxed in” on wider shots.Enhancing period authenticity through VFX
Modern electric lighting visible in the windows on the original plate was replaced with subtle, flickering Georgian candlelight, bringing the image in line with the historical reality of the show’s era.Introducing environmental movement
Gentle wind animation was added to the wisteria across the façade, giving the scene a natural softness and preventing the still plate from feeling static on camera.
These details are often imperceptible on an individual level, but collectively they help to sell the illusion, especially in a conversational format where the background sits in frame for extended periods.
Designing for Multi-Camera Reality: Maximising the LED Canvas
One of the biggest misconceptions about LED volume work is that the wall dictates the shot. In practice, it's the opposite: careful positioning of talent and cameras is what unlocks the full creative potential of the canvas.
For a typical TV interview or podcast setup, three or more cameras can shoot against either a single panoramic backdrop or individual plates rendered for up to three distinct camera perspectives. Rendering per-camera perspectives gives the director refined framing control, and each camera gets the correct parallax and horizon for its angle, rather than a single compromised background that only looks right from one point-of-view.
This approach meant that however the content was cut, the background remained consistent and believable.
One of the biggest misconceptions about LED volume work is that the wall dictates the shot. In practice, it's the opposite: careful positioning of talent and cameras is what unlocks the full creative potential of the canvas.
For a typical TV interview or podcast setup, three or more cameras can shoot against either a single panoramic backdrop or individual plates rendered for up to three distinct camera perspectives. Rendering per-camera perspectives gives the director refined framing control, and each camera gets the correct parallax and horizon for its angle, rather than a single compromised background that only looks right from one point-of-view.
This approach meant that however the content was cut, the background remained consistent and believable.
This flexibility is what makes virtual production a genuine upgrade over both location shooting and traditional green screen for multi-camera formats.
By combining plate extension, subtle VFX enhancement, and careful camera choreography, the Bridgerton setup became more than a backdrop—it became a fully functioning environment for conversation.
Crucially, the LED wall didn’t dictate the shot, but enabled it.
This flexibility is what makes virtual production a genuine upgrade over both location shooting and traditional green screen for multi-camera formats.
By combining plate extension, subtle VFX enhancement, and careful camera choreography, the Bridgerton setup became more than a backdrop—it became a fully functioning environment for conversation.
Crucially, the LED wall didn’t dictate the shot, but enabled it.
Peaky Blinders: Creating Scale Within the Frame
Following from the success of the Bridgerton junket shoot, Netflix, with production company - Platform Media sought a similar yet distinct solution for Peaky Blinders: The Immortal Man. This time Netflix provided the plate, captured during principal photography: a burning industrial warehouse which was the set for a major scene in the film.
Following from the success of the Bridgerton junket shoot, Netflix, with production company - Platform Media sought a similar yet distinct solution for Peaky Blinders: The Immortal Man. This time Netflix provided the plate, captured during principal photography: a burning industrial warehouse which was the set for a major scene in the film.
Creating the Illusion of Scale
Creating the Illusion of Scale
Although the source plate depicted a large warehouse, the real achievement was making that scale read on camera.
Although the source plate depicted a large warehouse, the real achievement was making that scale read on camera.
Key to this was:
Healthy overscan, giving flexibility for reframing and wider compositions as the shoot evolved
Per-camera perspectives, ensuring each angle maintained correct parallax and horizon
A high-resolution workflow (8K–12K plates), keeping the image sharp and artefact-free across all framings
Together, this allowed a relatively modest studio footprint to convincingly suggest a much larger world, delivering a vast sense of scale one would not expect for a project of this scope.
Key to this was:
Healthy overscan, giving flexibility for reframing and wider compositions as the shoot evolved
Per-camera perspectives, ensuring each angle maintained correct parallax and horizon
A high-resolution workflow (8K–12K plates), keeping the image sharp and artefact-free across all framings
Together, this allowed a relatively modest studio footprint to convincingly suggest a much larger world, delivering a vast sense of scale one would not expect for a project of this scope.
Working the Plate in Real Time
Working the Plate in Real Time
Where the V Studio team was able to add real value was our ability to provide dynamic, real time adjustments and augmentations to the plate on the pre-light and shoot days.
Using our VP pipeline, we:
Resized and repositioned practical flames to better suit framing across cameras
Live compositing of layers e.g. flames, pools of fire & candles.
Adjusted brightness and contrast to hold detail from close-ups to wider shots
Carefully blended the digital plate with the physical set, creating a seamless transition at the base of the LED wall
These live adjustments allowed the environment to remain dynamic and responsive to the needs of performance and coverage.
Getting a virtual background to hold up on camera is a craft. The Virtual Production team is made up of dedicated experts with a variety of complimentary skillsets so we’re able to respond quickly and with minimal fuss to keep the camera rolling.
Where the V Studio team was able to add real value was our ability to provide dynamic, real time adjustments and augmentations to the plate on the pre-light and shoot days.
Using our VP pipeline, we:
Resized and repositioned practical flames to better suit framing across cameras
Live compositing of layers e.g. flames, pools of fire & candles.
Adjusted brightness and contrast to hold detail from close-ups to wider shots
Carefully blended the digital plate with the physical set, creating a seamless transition at the base of the LED wall
These live adjustments allowed the environment to remain dynamic and responsive to the needs of performance and coverage.
Getting a virtual background to hold up on camera is a craft. The Virtual Production team is made up of dedicated experts with a variety of complimentary skillsets so we’re able to respond quickly and with minimal fuss to keep the camera rolling.
Holding the Illusion
Holding the Illusion
Small technical details made the difference between a backdrop and a believable environment:
Blurred plate edges prevented seams during camera movement
Matched camera height to plate perspective, aligning the virtual and physical floors for a clean blend
When these elements align, the result is twofold:
Talent feels grounded in the space, aiding performance
The final image reads as cinematic and immersive, not a studio setup
By treating the plate as a flexible, living environment rather than a fixed background, the production was able to capture a range of interview setups—while maintaining the scale and quintessential Peaky Blinders atmosphere throughout.
Small technical details made the difference between a backdrop and a believable environment:
Blurred plate edges prevented seams during camera movement
Matched camera height to plate perspective, aligning the virtual and physical floors for a clean blend
When these elements align, the result is twofold:
Talent feels grounded in the space, aiding performance
The final image reads as cinematic and immersive, not a studio setup
By treating the plate as a flexible, living environment rather than a fixed background, the production was able to capture a range of interview setups—while maintaining the scale and quintessential Peaky Blinders atmosphere throughout.
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