Virtual Production Best Practices
This guide covers recommended camera settings, lighting techniques, and on-set practices for getting the best results when shooting in virtual production with Vū.
▶ Watch the video: Best Practices Camera + Settings (1:24)
Camera Recommendations
Sync
Use a Genlock signal via BNC cable (tethered) for frame sync between the camera and LED wall. A dedicated sync generator is required for production use.
Frame Rate
24, 30, 48, and 60fps all work well, as long as the LED wall is running at 60Hz. Shooting at any of these frame rates does not change the LED processor's refresh rate — it continues to output at 60Hz.
Choose the frame rate based on the content on the wall:
- Cinematic animations — use true 24fps. Do not use 23.98fps.
- Motion graphics — use 30fps or 60fps for the best-looking results.
Shutter Angle
144° and 180° work best (exact values are camera dependent). These ranges minimize moiré and scan line artifacts on LED panels.
Tested & Recommended Cameras
The following cameras have been tested and verified to work well with Vū virtual production setups:
- Sony Venice II
- Sony Venice I
- Arri Alexa Mini (requires SDI port retrofit)
- Arri Alexa 35
- RED Ranger
- RED Helium
- RED Komodo
- RED V-Raptor & V-Raptor XL
- Blackmagic URSA Mini 4.6K
On-Set Best Practices
Control Your Lighting
Use light grids to control light spill. Shaders and LED pixels catch light from practical sources, which can cause washed-out colors or lifted black levels in-camera.
Match Contrast Ratios
Use a false color monitor to match contrast ratios between the content on the wall and your practically-lit subject. Mismatched contrast is one of the most common issues in virtual production and is difficult to fix in post.
Stay Focused
Keep your aperture as wide as you can and maintain your focal point 8–10 feet away from the wall to avoid moiré. Moiré becomes more visible as you stop down or focus closer to the wall surface.
Pre-Light Day
Plan for a dedicated pre-light day before your shoot day. Use this time to calibrate the wall, test camera settings, match contrast ratios, and work out any content or depth map adjustments with the ICVFX Supervisor. Time spent on pre-light pays back many times over on the shoot day.
Communicate
Talk with your ICVFX Supervisor on-set. Virtual production is a collaborative discipline — the camera, the wall, the content, and the lighting all affect each other. Keep communication open between camera department, the Vū operator, and the DIT.
Common Issues
| Issue | Likely Cause | Fix |
|---|---|---|
| Scan lines visible on wall | Unsupported frame rate (e.g. 23.98fps), wall not running at 60Hz, or wrong shutter angle | Confirm the wall is at 60Hz, use 24, 30, 48, or 60fps, and use a 144°/180° shutter |
| Moiré pattern on wall | Aperture too narrow or focus too close to wall | Open aperture, focus 8–10ft from wall |
| Washed out colors | Light spill hitting the wall | Use flags and light grids to control spill |
| Lifted black levels | Practical lights too bright near wall | Reduce practical intensity or reposition |
| Parallax feels off | Camera tracking out of calibration | Exit tracking and recalibrate |