State of the art Virtual Production facility in the heart of Yorkshire. Built by Tungsten.
An LED wall doesn't just play a movie. It plays the right movie for where the camera is right now.
Cameras have positions. Performers move through them. Most studio backgrounds don't notice. A virtual production stage is the version that does. The LED wall watches the camera, redraws the world to match, and emits actual light onto the talent and the foreground. What you see in the lens is what the audience sees on the cut.
That single trick changes a lot. Backgrounds replace locations. Time of day becomes a slider. Eight markets become eight versions of the same shoot. The actor sees the world they're acting in, lit by it. The post tail shrinks because the look was approved on set.
We read the brief, scope the markets and formats, and tell you whether VP is the right tool. If it isn't, we say so.
Environments built in Unreal from your reference, your photos, or original concept. AI plates where they speed the path without becoming the show.
You walk the virtual set in USDZ on a phone before any LED panel switches on. Camera angles, lighting, and look approved before the shoot day starts.
Cinematographer, director, talent, full crew. The volume is one tool in the room alongside motion control, high-speed, and traditional rigs.
Most of the look is in-camera. In-house grade, VFX cleanup, motion graphics and sound design under the same roof.
Five things VP did at Tungsten that traditional production could not, anchored to real campaigns and documented numbers.
Eight markets, one shoot programme. Forty per cent reduction in post-production time. Fourteen million TikTok impressions. Two hundred and sixty-five thousand Meta clicks. Number three best-seller in launch window.
Five worlds. Two days. One studio. Zero unit moves. "We've not cut any corners, we just found better solutions." — Director Kieran Edwards.
New York and London versions of the commercial, both shot from the same Leeds stage in a single day. AI plates of each city playing live on the wall. Phantom 240fps on the hero shot.
Cottage, yurt, lodge, holiday park, apartment, hot tub, family home. One stage. RED 8K reframed to 16:9, 9:16 and 1:1 with no duplicate shoots. Mid-flight upgrade from social to TV and cinema, no reshoot.
A lamp moved inside Unreal updates the monitor live. Approval moves to the floor. Post stops being a black box. Anchored to BPP and Sykes shoot days.
Half of the briefs we see don't belong on the volume. We'll tell you which half yours is.
Virtual production is the wrong tool for some briefs. We'll tell you which ones.
Most agency conversations about Virtual Production start with the wrong question. The question is usually some version of "what's your day rate." The right question is "what would my campaign cost if you produced it in this room versus the way we did it last year."
Those produce wildly different answers. The first one is shoot-day arithmetic. The second is campaign arithmetic. VP is rarely the cheaper option on the first. It's frequently the cheaper option on the second, sometimes by a margin most agency producers haven't seen on a quote sheet before.
Most VP cost comparisons leave seven things out. Once you put them in, the picture changes shape.
Ask for the campaign comp, not just the day-rate comp.
Reckitt's measured CO2 reduction per shoot day from VP versus traditional, across its EU production programme. Goal: 80% of master assets through VP.
Bupa (AMV BBDO): 3.97 tonnes CO2e shot in VP versus 121.53 tonnes traditional, AdGreen-measured. APA Ideas Awards 2023.
The amount industry emissions would fall if business-class flight kilometres were halved across UK ad production. The single largest emission line is people transport. VP eliminates most of it.
Procurement teams in 2026 are asking three things on every production scorecard. Total cost of ownership across the campaign, not lowest day rate. AdGreen-measured carbon. Asset reuse value beyond the campaign window. VP answers all three. The shoot day is rarely the cheapest. The campaign is.
Most studios hire in what they don't have. We built it all. VP, robotics, AI, high-speed, and a food kitchen in one building, run by one team. That means fewer moving parts, faster turnaround, and no surprises on the invoice.
The wall is one of the tools. We light. We shoot. We grade. Our cinematographer (Andrew Beniston) shot RED 8K on Definely so every keystroke could be reframed for nine ratios in post. Our producer (Simon Sturgeon) was running Unreal upstairs while Director Kieran Edwards directed talent on the floor for BPP. The volume sits inside a working studio. The studio sits inside a film production company. That order matters.
To get to use tech like this. The virtual production screen would run in the thousands for anyone else. For us, having that accessibility to be able to work with a team to create something that is vibrant, that tells our stories, is absolutely phenomenal.
Gage, Oxygen Films
No pitch theatre. Just the maths.
Yes, on the shoot day. Show the column with post, reshoots, travel, location fees, multi-market versioning, and asset reuse. On a multi-market campaign with 60+ assets across twelve months, VP runs 30 to 70% lower. Reckitt has restructured around exactly this maths.
True in 2021, no longer. The current failure mode is briefs that ask actors to imagine performance against a sea of green. That's a green-screen problem. VP's whole point is that the actor sees the world they're acting in, lit by it, in real time. Bupa shot a 90-second performance piece in VP. Russell Hobbs shot performance-led product moments in dreamlike environments. Flag the genuine limits: heavy stunt, talent-touching-environment, location-as-hero.
Backwards. VP moves the unknowns forward. The look is approved on set, in-camera, before the shoot wraps. Traditional production books an unknown post tail to fix what wasn't lit, framed, or approved on the day. VP's contribution to the spreadsheet is that the post line shrinks and becomes predictable. Calm Kettle: 40% reduction.
Two different conversations being merged. Generative AI as a single creative shortcut produces slop. VP is a production methodology that uses controllable real-time backgrounds, built by environment artists, lit, art-directed, photographed in-camera. AI shows up inside VP for asset variation and localisation. Not as the output. We use AI where it's invisible, not where it's the show.
The triple-bid model is publicly broken. The IPA, APA and ISBA launched a joint Production Pitch Process Initiative in 2024 explicitly because the triple bid finalises the brief before production thinking starts. Two practical moves. Ask for a VP campaign comp alongside the traditional triple bid, so procurement is comparing the same shape. Lead with the AdGreen carbon column, which is now on most procurement scorecards.
What are all the assets you need across the next six to twelve months from this product, brand, talent or theme? If the answer is one, traditional is fine. If the answer is 60+ across markets and formats, VP starts winning before the bid sheet exists.
Multi-market reuse is where VP recovers its day-rate premium. The pattern that breaks VP is lead market now, versions later as a P.S. Bid the whole campaign across all markets in one programme.
The savings live in the brief design, not the shoot day. Production partners working the brief at concept will surface them. Production partners arriving at quote will price what they're shown.
Come and see it. Bring a brief, or don't. Forty-five minutes on the floor with Andrew and Simon, no pitch theatre, just the room and the maths. Leeds in person, or a video walkthrough if travel doesn't work.
Unit 7 Armley Nano Park
Pickering Street
LS12 2BJ
7 Bell Yard
WC2A 2JR