We don't sell hours of engine work. We sell a stage that renders at rate on show night, with the people who built it sitting behind the console.
Environment, lighting, and terrain built around the setlist. Cues bind to timecode or to a live MIDI feed so the room moves with the performance rather than trailing it.
Tournament stages that read live match telemetry. Team identity, map state, and score drive the environment without an operator touching a key.
Physically correct materials built from your CAD or scan data, lit under a colour-managed pipeline so the product looks the same on stage as in the catalogue.
Walk the stage in headset six weeks before load-in. Blocking, sightlines, and camera positions get resolved while changes are still cheap.
Volumetrics, haze response, and shadow behaviour designed as a single system with the physical rig, so real and rendered light agree on camera.
Our engineers work your show alongside your crew, with redundant playback machines and a rehearsed failover for every scene in the running order.
You send the brief, venue or volume spec, and date. We return a written read on what the stage can be and a budget range within three working days.
Blocking, camera, and lighting intent resolved in a walkable build. Two weeks, typically two review rounds.
Environment, shaders, terrain, and cue systems against a locked GPU budget with a weekly performance report.
In the real room, on the real hardware, with your broadcast crew and a full running-order pass.
We operate on the night, then transfer source projects and documentation within 48 hours.
Single-show builds are quoted as a fixed scope against a fixed date. Season deals cover a league or tour with a shared stage base and per-event variants, priced per broadcast day. Retained technical direction is available monthly for teams running their own volume who need a second pair of eyes on performance.
Request a quoteEight weeks is comfortable for a full virtual stage: two weeks of previs, four weeks of environment and lighting build, two weeks of technical rehearsal. We have shipped in eighteen days when a broadcast date could not move, using an existing stage as the base layer.
