Virtual Production

Here is how this works in practice. We deliver virtual production as an integrated pro service, joining the digital environment, the camera and the physical set into one workflow. From our Belgrade base we plan virtual-production shoots so the real-time engine, camera tracking and the LED volume or green-screen stage work together, capturing final or near-final visuals in camera rather than deferring everything to post. Our team sets up the engine operators who run the virtual environments, the tracking system that ties the virtual camera to the physical one.

Here is the short of it. The brain-bar technicians who keep the pipeline stable. The gaffer who matches set lighting to the digital world. For full builds we stage at PFI Studios near Simanovci, one of the largest complexes in the region, where the volume, set and grid can be rigged precisely. We connect shoots with Belgrade's pool of real-time-engine artists and environment builders who prepare the virtual sets in pre-production. We run the workflow from pre-light through shoot day, all supported by the cash rebates on qualifying spend.

Here is the breakdown. Serbia is a sound base for virtual production because its film and creative-technology sectors have grown together over the past decade into a competitive regional hub. PFI Studios near Simanovci gives today's stage space for virtual-production builds. A short drive from Belgrade. The city has a deepening pool of real-time-engine artists, environment builders, VFX talent and pipeline technicians. Virtual production lets a project shoot many environments without travelling.

Here is what that looks like on the ground. This suits Serbia's centred, well-connected infrastructure, while real Serbian locations from the Kalemegdan fortress to the Djerdap gorge and the medieval monasteries can also be scanned and rebuilt as virtual sets. English is widely spoken across the industry. This keeps joint work with overseas teams straightforward. Serbia operates on CET, one hour ahead of UK time.

Here is how the picture comes together. The 25 to 30 per cent cash rebates through the Film in Serbia programme of the Serbia Film Commission covers qualifying virtual-production and post spend, with the higher rate for larger budgets, and ATA carnets cover short-term import of LED panels, tracking systems and processing hardware.