X3D Studio recently celebrated the opening of its virtual production stage, the largest in Southeast Asia. The studio houses an impressive 18-meter by six-meter LED wall with a 1.95 mm pixel pitch and 9216 by 3072-pixel resolution, as well as an eight-meter by eight-meter LED ceiling, all equipped with leading virtual production technologies from companies like INFiLED, Brompton Technology, Unreal Engine, OptiTrack, and of course, ARRI.
Co-founders Karen Seah and Myke Brown reveal that their choice to build a virtual production stage was primarily driven by the need to provide quality consistency and technically accurate solutions. “As producers ourselves, we wanted to leverage our years of experience to provide solutions for other filmmakers around the region, and we felt that Singapore has the best infrastructure to build a state-of-the-art virtual production studio,” explains Seah.
X3D Studio opened its virtual production stage in June 2024
Apart from its massive scale, X3D Studio also holds the distinction of being the first facility in the world to receive an ARRI Stage Accreditation, awarded by ARRI Solutions’ virtual production experts after a rigorous evaluation process. This accreditation immediately indicates to clients and prospects that a facility meets ARRI’s strict criteria to deliver consistent, high-quality content.
“The stage accreditation process with the ARRI team was invaluable. The pre-checks ensured our technical designs were in line, as they became our roadmap for the studio’s build. The pre-check was followed by a thorough on-site evaluation, allowing us to optimize stage design and construction. Finally, the training with ARRI virtual production software developer Andreas Oestreich elevated our overall performance,” says Brown.
The incredible team behind the success of X3D Studio’s virtual production stage
As part of the accreditation process, the X3D team also underwent stringent training for ARRI Color Management for Virtual Production and ARRI Live Link Metadata integration. “ARRI Color Management for Virtual Production allows the precise calibration of LED walls to our existing In-Camera Visual Effects (ICVFX) pipeline. ARRI’s LED calibration plugin for Unreal Engine gives us control over camera settings in a language that every filmmaker understands, making it as easy as possible for virtual production. For instance, if the neutral-density (ND) filter is applied, we simply match the same number inside the plugin. On the other hand, the ARRI Live Link Metadata is a game changer on set and during the preparation stages. Data such as focus distance, focal length, and aperture are transferred to our system in real-time, so we no longer need to make manual adjustments,” explains X3D technical director Ivan Tymoshenko.
“This has enhanced our workflow efficiency, providing our cinematographers, directors, and producers with a common platform to connect and a metric for a predictable and technically accurate ICVFX result. Our brain bar crew’s perception of the ICVFX working space has also improved. Collecting all points of the metadata in one place for quick evaluation has made the work easier for them,” adds Brown.
ALEXA 35 with Signature Primes is the main camera system for X3D’s VP Stage
To deliver a holistic virtual production experience, X3D Studio has equipped the stage with a suite of ARRI equipment, including the ALEXA 35 camera, Signature Prime Lenses, and the Hi‑5 hand unit. For lighting, they have invested in ARRI's SkyPanel X, SkyPanel S60C, and Orbiter fixtures. “We decided to use familiar tools from ARRI, as our primary goal was to benchmark our ICVFX process and adopt ARRI’s Color Management for the Virtual Production pipeline as our in-house standard,” reveals Brown.
Putting their virtual production capabilities to the test, X3D Studio marked their launch by premiering two sci-fi short films: “Trap” and “Dead End.” “Trap” offers a glimpse into a futuristic Singapore in 2080, while “Dead End” is an action-packed buddy film set in a dystopian, post-apocalyptic Singapore.
Watch the short film “Trap”
Cinematographer James Hia masterfully captured both films. He recounts his experience: “Lighting a virtual production set is relatively different than lighting a traditional studio. I had to carefully consider how to balance the lighting on set with the LED wall in terms of base exposure, contrast levels, and background sharpness, as well as how the actors’ skin tones would display in-camera due to the different color spectrums from different virtual scenes.”
“There’s a scene in ‘Dead End’ when the protagonist tries to retrieve a package from outside a moving vehicle in the middle of a sandstorm. This shoot was particularly challenging as several elements required a meticulous approach and multiple rehearsals. One of the biggest challenges was to match my lighting as close to the virtual scene as I could. With the actors and camera in constant motion, I had to rely on pre-rigged SkyPanels, precisely timed with the virtual scene animations. However, having numerous crew members behind the camera created the need for more ambient light on the actor. To address this, I prepared a large four-feet by eight-feet mirror, which gave me a seamless light bounce from the LED wall and ceiling onto the actor,” elaborates the cinematographer.
Watch the short film “Dead End”
Having been faced with these challenges, Hia feels fortunate to have had access to an array of advanced tools that create the best images. He explains: “Many scenes were initially hard to envision due to the various extensive sets. It was especially tricky to achieve the right color balance, but the color representation captured in the camera from the LED wall was spot on. The sophisticated color management system and the level of on-set control were a great advantage. For example, I could quickly add light cards to the virtual scene, shape and control the intensity and color, and be confident that it would reflect accurately and match my practical lights.”
“I also thoroughly enjoyed the creative freedom provided by the ALEXA 35’s wide latitude and the REVEAL Color Science’s ability to capture subtle color details. Using the SkyPanel X was another great advantage, giving immense flexibility to control my light source from just a single fixture,” adds Hia. “The equipment allowed me to take my mind off the technical elements and fully concentrate on the creative storytelling aspect.”
Behind-the-scenes from the sci-fi short film “Trap”
Following the official launch and debut of their short films, X3D Studio received positive responses from local and international producers and filmmakers and have already successfully secured major international projects. “ARRI’s accreditation has significantly boosted the industry’s trust in the quality standards at X3D,” says Brown. “Our goal is to attract more productions and contribute to the growth of Singapore’s virtual production ecosystem while also instilling confidence in the use of virtual production throughout the region.”
ARRI Solutions designs and delivers tailored solutions for the next generation of media and entertainment. Its team of technical specialists combine ARRI’s unrivalled film industry expertise in professional camera and lighting systems with efficient workflows, digital assets, and innovative studio design. For more information, visit arri.com/solutions.
