Govia Thameslink Railway’s “Every Stop is a Story” called for two 60-second films that felt authentic, emotive and memorable, balancing heart, humour, and the real character of different train journeys, Southern and Thameslink. Working with Scenester Films and director Simon Neal, we supplied the virtual‑production expertise and wrap around content on screens that made these ads possible. Our role was to make these journeys feel as REAL as possible on trains that where stuck in static depots, without making the production a logistical nightmare. Using our modular LED wall, reconfigured the aspect ratio to run along the 20-metre-wide length of the carriage, mounted up to 4.5 metres high. Which gave us complete control over weather, lighting, logisitcs, and performance. As well as controlling the output for our friends in post to handle the additional CGI.
We captured video plates on the South Downs and Thameslink lines, and paired them with bespoke Unreal Engine 5.6 environments built to match each route. On set, our modular LED wall was built into a 20-metre run alongside the carriages, powered by our high-spec render machines. In the live depots, we handled VP consultancy, rigging, and on-site technical supervision, adapting layouts, camera angles, and lighting to work within the creative expectations, tight platforms and operational constraints. By taking the logistical headaches out of the equation, we gave the crew the freedom to focus purely on performance and storytelling, without compromise from weather, train schedules, or location moves.
.png)
Our role didn’t stop when the cameras turned off! By delivering time‑coded, stabilised outputs from the LED wall, we made it easy for VFX artists to track shots and integrate CGI digital elements throughout the journey. The Unreal environments were designed for continuity: lighting cues and spatial references matched the live plates, so CGI enhancements could blend seamlessly. Shots captured in‑camera using VP were almost ready straight out of camera, freeing Scenester’s edit team to focus on pacing and story. Subtle effects like kite rigs, reflections and atmospheric details, were added without fighting inconsistent backgrounds. The hybrid approach meant simpler shots were ready to go, while more complex elements benefitted from the flexibility of virtual production.
The campaign is reaching audiences across TV, VOD, out-of-home, social, online video and display, supported by PR to maximise visibility. This multi-channel rollout keeps “Every Stop is a Story” front of mind well beyond the initial launch, engaging viewers wherever they are. More analytics and metrics coming soon!
