From Concept to Screen: Virtual Production in Film and Television

July 1, 2024

VFX Sup Bryn Morrow shares practical insights into film and TV volume production, from previz to final grading and the image pipeline.


An Interview with VFX / VP Supervisor Bryn Morrow of Steelbridge Studio

Bryn Morrow, VFX and Virtual Production (VP) Supervisor at Steelbridge Studio

I met Bryn Morrow while colour grading television commercials shot on a volume stage at Steelbridge Studio in Brisbane, Australia. Interestingly, I didn’t realize until the resizes were removed from a shot that the commercial hadn’t been shot ‘in real life’ but on a stage.

Once I started looking critically, I found opportunities to enhance the scene’s realism. As this is a new and rapidly developing technology, I thoroughly enjoyed this opportunity to speak with Bryn and understand the methodology and challenges of this medium.

Bryn is a VFX Supervisor based out of Queensland, Australia. His training and experience as a Cinematographer, combined with his expertise as a VFX and CG Supervisor, provides a unique insight into live-action production and VFX workflows. Some of his film credits include:

  • Prometheus
  • The Power of the Dog
  • Land of Bad
  • Captain America

In this interview, Bryn discusses virtual production on a volume stage. He specifically describes the workflow and relationship between post production and colour grading, how colour grading can be incorporated into the process, and what to look for when grading virtual production.


  • 00:00 Introduction and Background
  • 01:26 What is a Volume?
  • 06:24 Creating Environments in the Volume
  • 13:27 Aligning the Digital and Real World
  • 19:19 Steel Bridge Studios and Virtual Production in Australia
  • 25:33 Virtual Production Adoption Challenges and Cost Structure
  • 28:50 Pre-visualization and Digital Scouting
  • 32:53 Collaboration with DPs
  • 32:02 Depth of field constraints and lens constraints
  • 37:42 Color Pipeline
  • 39:25 Challenges of LED panel colour management
  • 42:42 Linear Workflow
  • 45:53 Color Grading in Virtual Production
  • 50:59 Is there a role for colourists?
  • 58:15 Kalie’s Experience Grading a Volume
  • 1:00:54 What happens in the Brain bar
  • 1:02:32 Brain Bar: Challenges Tracking the Virtual Camera
  • 1:04:27 Brain Bar: Virtual Art department supervisor
  • 1:06:04 Bryn’s interactions with the Brain Bar
  • 01:07:45 Bryn’s Background and Expertise
  • 1:14:05 Understanding Where virtual productions Make sense
  • 01:16:08 The Role of Colorists in Virtual Production
  • 01:23:30 Improvements in Panel Technology
  • 1:25:41 New subframe tech generating mattes for the colourist
  • 01:30:26 Closing Remarks

Key takeaways from this Insight

  • Virtual production is the integration of digital environments in live-action productions, often filmed against LED panel walls. Artists collaborate to integrate digital and physical environments.
  • Prep and collaboration with multiple departments are crucial in ensuring the best results.
  • Colour considerations and the colour pipeline play a significant role in achieving realistic visuals in virtual production.
  • LED panels can cause colour shifts and affect the appearance of skin tones, requiring careful attention and correction from colourists.

Questions or Comments? Leave a comment!

What did you think of this Insight? Are there more questions about volume productions that you’d like answered? If you’ve worked on these types of productions, I’d love to hear your thoughts in the comments, too.

– Kali

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