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Thought Leaders in association withLBB Events
Budgeting LED Volume Stages for Real Production
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08/09/2026
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Forge Virtual Studios executive producer Angie Gaffney breaks down how smart productions take advantage of virtual production to save time, money, and crew sanity
I remember my first feature film very clearly: I was a 19-year-old first assistant director working on a $150k feature. It was a hot and humid Chicago summer; we averaged two to three locations per day around the city and surrounding suburbs. We had nearly 80 different speaking roles and days with 50+ extras. I was making $75/day with no overtime, working 16-hour days, and commuting an hour each way. I vividly remember sleeping in the back of my car during weeks when locations were particularly far away — attempting desperately, and uselessly, to find a gas-station-slash-truck-stop-with-a-shower. I was exhausted and challenged and physically depleted and very much out of my depth.
I loved every minute of it.
Nearly 16 years later, I find myself swept up in the industry in a different way: fast-moving technology is dramatically changing how we tell stories. These large technical innovations are often integrated more slowly into independent films and lower-budget media: the technology has to evolve to a place where it’s affordable on a smaller budget. . However, I do believe we’ve reached the point in virtual production at which the technology — and the knowledge to use it — is more widely accessible, and the financial and logistical efficiencies make it a worthy consideration for any sized production.
I started working with the team at Forge Virtual Studios about a year ago. Since then, I’ve produced and overseen multiple projects on our LED volume stages. I’ve also been asked to incorporate and consider virtual production for a variety of projects. People ask, “How does this fit into my feature film?” Or, “What is the cost-benefit of filming my driving shots on a stage vs. outdoors?” And, specifically, “How can I optimise this technology without skewing my budget?”
While every approach and every project is different, my virtual-production-per-project-evaluation really comes down to five key considerations.
1. What is the cost of time on your production? And how does virtual compare?
Let’s say we’re making a $500k commercial that’s filming over 10 days, averaging about $50k/day. If you’re working 10 hours/day, that means you’re spending about $5k/hour. Now, this is highly simplified for the sake of illustration, but stay with me.
On one particular day of filming, we’re slated to film short insert scenes in four different locations as part of a key product montage for the commercial. The client is highly particular about how each shot looks.
With this information, I know that a move to another location takes at least an hour, not to mention the time to light a new space. Given how meaningful these shots are for the client, I can anticipate that the shots themselves will take more time to complete and require more on-set conversation and creative adjustments.
If filming on location, I would allocate at least four hours of my day to company moves, which translates to $20k in lost time. I would also have to sacrifice creative conversations with the client on set, because our schedule would be extremely tight.
If filming on virtual, I would likely spend $20k to secure the space for the day, but I would also gain 3+ hours of invaluable time to perfect the shots.
To me, that is a no-brainer: I’d choose virtual production. Same amount of money spent — but a noticeable difference in how you use that time and money. In some cases, virtual may even prove to be cheaper.
2. How valuable is climate and lighting control to your shoot?
Living in Chicago, I’ve seen some wild weather, and I’ve filmed during almost all of it. I’ve been running cameras out in -20º windchill (do not recommend) and sweating through layers of clothing in crushing summer humidity. I’ve rushed to “get the shot” at dawn while the lighting is just right, only to miss it and have to come back the next day.
The lighting and climate control of filming in a studio is undeniable, so if that’s important to your shoot, it’s worth considering filming on a LED volume wall. You can film your whole day “at dawn”, bring in some fake snow, or be in the desert without having to fight the heat. Here at Forge Virtual Studios, we have a pre-rigged, customisable lighting grid, a 5-Ton Grip & Electric package, the latest RED cameras, and a variety of monitors and camera accessories. In a studio that offers additional gear onsite, your load-in, rig time, and lighting time are greatly reduced, creating efficiencies all around.
3. How much prep time do you need to set up your virtual production team for success?
Budgeting for virtual production isn’t as complicated as it may seem. The key takeaway is that you are adding a department to the below-the-line crew that you didn’t have before. Like any department, the VP team requires a certain amount of prep time, budget, and a high level of creative collaboration with the other department heads.
When shooting in virtual, you need your production designer in conversation with your virtual production supervisor as soon as possible. Blending the two mediums — and having the real world set flow seamlessly into the virtual world — is a delicate dance that requires time for collaboration between the two departments. When budgeting for virtual, I like to make sure the amount of prep time I’ve budgeted for the art department and virtual production, respectively, overlaps and complements.
4. What is going on the LED volume wall?
The biggest, and most exciting, question in virtual: What goes on the wall? Are you filming driving scenes? Are you filming a scene in space? Are you filming in a house and need to be able to control what’s “outside” the windows?
If you’re considering virtual production, you’ve likely already started to answer this question. Almost anything can go up on the wall, but you’ll need to consider the level of complexity and customisation as you begin the budgeting process. One of the most common uses for virtual is filming a car on stage with the world whizzing by in the background. That footage can come from a variety of places. Maybe you shot it earlier with a 2nd Unit, you want to pull it from an online VP library (there are quite a few out there), or you’re considering hiring an artist to create something entirely from scratch.
Each of these requires different considerations around logistics, money, and time needed to complete the task. In general, the more complex and customised the digital asset, the more money and time is needed to execute it well. Most importantly, you shouldn’t have to figure this out on your own. The right virtual production supervisor can help you fine-tune creative ideas and talk with your team about how to execute them successfully.
5. What logistics and safety elements can be simplified if filming in virtual?
I have a love-hate relationship with production logistics on shoots, as I’m sure most producers do. Moving a crew around with trucks and equipment, feeding them all, securing enough space to build sets, keeping them as comfortable as possible in extreme weather…. the list goes on. Filming at a studio inevitably makes all of that easier. It allows for a climate-controlled space with ample parking, bathrooms, enough space to build items and feed a crew, and hopefully some comfy areas for cast and client alike. You can also ensure safe working environments more easily in a studio. You’re in a known space with trusted and tested equipment, and that helps everyone breathe a bit easier.
One of my favourite parts of giving tours to fellow producers at Forge Virtual Studios is walking them through the loading bay. The amount of space and parking is impressive enough to be dreamy, especially if you’re used to the tight confines of the city.
Last year, I produced a short film shot entirely in virtual. For one scene, we filmed the main character riding a roller coaster. We mounted the camera on the front of the car, and the LED wall showed the tracks behind him as he rode. We were able to custom-build a roller coaster rig that allowed us to flip the actor upside down while keeping him safe and keeping the camera securely mounted.
It goes without saying that a scene like this would have been much riskier on an actual roller-coaster. The cost of insurance to film in a real amusement park — let alone the extensive safety and stunt measures — would have been cost-prohibitive. While the cost of the rig we made was high, it inevitably saved us money compared to filming it on location, and was safer for both our crew and cast.
So, Is Virtual Production Right for Your Next Project?
Not every project needs an LED volume, but for the right shoot, the trade-offs I’ve laid out here consistently work in virtual’s favor. You’re weighing out time, control, safety, and creative flexibility against a cost you can plan for Over 16 years in this industry, I’ve watched virtual production shift from a big-budget or special-occasion tool into an accessible and often affordable option for projects of all sizes.
Ultimately, it’s up to you to choose if virtual production is right for you and your project. For me, I know that it’s always worth considering, and certainly beats sleeping showerless in your car. I’m enjoying learning more as the technology continues to advance.
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