Virtual Production DP
Virtual production work on LED volumes, including a Super Bowl social ad for Ramp and NFL Films spec work. Shot by Pete Gill with the same cinema packages used across Hundred Films' documentary and commercial work.
WORKED WITH: RAMP · NFL FILMS · SPECTRUM REACH
More about virtual production work
Shooting on an LED volume
A volume changes what the DP is responsible for. The background is now a light source, and matching the on-set lighting to what the wall is doing — colour, direction, falloff, and the interaction between the two — is the whole job. Get it wrong and the plate reads as a screen behind an actor rather than a place they are standing in.
The work on this page was shot on LED volumes for Ramp, NFL Films, and Spectrum Reach, using the same cinema packages Hundred Films brings to its documentary and commercial work.
When a volume beats a location
Virtual production earns its cost when the location is impossible, unaffordable, or unrepeatable: a stadium you cannot close, a sky that will not hold, a set of shots that need to match across a campaign shot over several days. It also gives you the final frame in camera, which changes what a client can approve on the day rather than three weeks later.
It is not the answer to everything. Wide vistas, heavy camera movement, and reflective surfaces all push against a wall's limits, and a scout will often show that a real location is cheaper. Pete works with volume operators and production teams to make that call before the day rather than during it.
COMMON QUESTIONS
Q. What virtual production work have you shot?
LED volume work including a Super Bowl social ad for Ramp, NFL Films spec work, and spots for Spectrum Reach and Storyvox.
Q. What is an LED volume?
A stage wall of LED panels that displays a moving background in camera, lighting the subject at the same time, so the final composite is captured on the day rather than created in post.
Q. When should a project use a volume instead of a location?
When the location is inaccessible, unaffordable, or has to match across multiple shoot days, or when the client needs to approve the finished frame on the day. Wide vistas, heavy camera movement, and reflective surfaces often shoot better on a real location.
Q. Do you work with an existing volume or bring one?
Pete works as the DP alongside the volume operator and stage crew, and brings the Hundred Films camera package if the production needs it.
Q. How do I talk through a virtual production shoot?
Text Pete at (352) 223-1908 or send details through the contact page.