Projects XR
Louis Vuitton · XR
The camera is two metres from the wall.
200 m² Flat 2.6, curved volume · 3 prelight days · 3 shoot days
XR production for the Louis Vuitton Christmas campaign at Solent studios, Sofia. An LED wall as the shooting environment - the background changes in camera, not in post-production.
The LED wall was ours - delivery, installation, calibration to the camera - along with the technician and the multimedia operator on set through the prelight and the shoot. 200 m² Flat 2.6, curved volume, three prelight days, three shoot days. No LED floor, no LED ceiling, no tracking system - the wall and the camera. Refresh rate and geometry calibrated to the camera before the first shoot day.
A Louis Vuitton Christmas campaign, shot in a Bulgarian XR studio.
In numbers
- Production
- the Louis Vuitton Christmas campaign
- Studio
- Solent, Sofia
- Wall
- 200 m² curved LED volume, P2.6
- Prelight
- three days
- Shoot days
- three
- Without
- LED floor, LED ceiling and tracking system; the wall and the camera
- Our part
- the wall, delivery, installation, calibration to the camera, a technician and a multimedia operator on set
How the work went
XR production reverses the order of a shoot. The background is not added in post-production; it plays on the LED wall behind the actors, and the camera films it together with them. So the wall needs a pitch fine enough for the shot (here P2.6, with the camera at two metres) and has to be calibrated to the camera: refresh rate against the shutter, so there is no banding in the shot; geometry and colour, so the background on camera matches the real light on set.
That is exactly what the three prelight days are for. The wall goes up, the content plays, the camera takes its real positions, and every mismatch is fixed before the campaign crew arrives. Through the three shoot days the technician and the multimedia operator are on set: they change the backgrounds in shot, watch the signal and look after the wall. The project ran without an LED floor, an LED ceiling or a tracking system, because the scenes allowed it: just the wall and the camera.
The difference from an event rental is how success is measured. At a concert the screen has to read from the back row; in the studio it has to disappear in the shot, so that whoever watches the film never guesses the background was a wall two metres behind the actor. That is why calibration here takes longer than installation, and the technician watches the camera monitor, not the wall itself.
For a similar project
The first question in XR is what the camera will shoot: how close it will stand to the wall and how big the frame will be. The pitch and the area follow from that. The second is the studio: our volume travels to the studio you choose, and the full signal chain, the render and the crew come with it. Tell us about the production on the XR productions page.
We ask three things first: which camera and lens you will shoot with, how many scenes and background changes the script has, and whether the frame includes the floor. From the answers come the pitch of the wall, whether you need an LED floor or ceiling, and the number of prelight days to plan into the schedule before the first shoot day.
Video
The official campaign film, from the Louis Vuitton channel. The carousel scenes were shot in front of our LED wall at Solent studios, Sofia; the finale on Place Vendôme is post-production.