Staging the impossible in real time.
CDSARHold builds and operates virtual production stages built around a sweeping green screen cyclorama, LED volumes and a hardened dolly track. Studios and brand teams step onto a flat grey deck with a boom pole on the stand and a video village monitor at the eyeline, then walk away with moves that are composed, tracked and composited before wrap.
The call sheet for your next production — six proven service lines, each crewed and camera-tested.
Every line below runs through the same floor on a single accountability ledger. Marker to monitor, one stage team owns the take.
Virtual Production Stages
Walk onto a purpose-built stage where a full green screen cyclorama sweeps from the wall and folds across the deck with a hard horizon line you can light exactly as you would a real set. The grey deck accepts spike tape, cable troughs and dolly track without complaint, and the video village wall stays close to the action so a director can judge a comp while the gaffer still has the rig. Stage bookable by the half day and by the full day, with a best boy and a camera operator on the cart for the hour you need them.
See stage detailsAR Content Pipelines
Augmented reality only earns its place when the 3D build survives field conditions, lighting changes and the rough edge of a live camera. Our pipeline starts with survey data from the actual deck, builds meshes that match the physical footprint, and keeps a single source of truth so an assets build never drifts from the plate. You will get versioned packages a compositor can trust, plus a hand-off review where a lead artist walks you through every track point before the loader signs for the take.
See pipeline detailsReal-Time Compositing Systems
On a busy floor there is no room for a blue-take to hide. We keep compositing live at the village so foreground, greenscreen clean plate and the virtual camera read as one image while the take is still running. That means a producer sees the finished frame during the take, not at the end of the day, and corrections become a lighting note instead of a re-render. Bring your scene files and we run them through our real-time engine with a dedicated composite operator on headset for the entire shoot.
See compositing detailsMarker and Tracking Setups
Tracking is the quiet discipline that makes a greenscreen promise hold. We mark a stage the way a camera plot is written, with spike tape that belongs to the floor and coded targets that never fight the paint. A tracker builder checks every optical marker against the physical grid, sets the floor origin where the talent will actually stand, and hands the data to the operator in a form the compositor can trust. Drift is caught on the stage, not in the online edit, and a re-shoot becomes an exception rather than a habit.
See tracking detailsLED Volume Consulting
An LED wall is a big bet with a small tolerance for error. We consult on volume builds from the render budget up: panel pitch, client capacity, camera tracking latency and the cabling spine that keeps a show alive when the whole room is digital. We have lit and lensed volumes that ran for weeks, and we bring that ledger to your planning table. Expect a walk-through of your signal path, a realistic power and heat figure, and a lane map for content engines long before concrete gets poured or a panel gets hung.
See LED volume detailsBroadcast Graphics Integration
When your show is live, the graphics had better hold time. We wire AR overlays, camera-fitted scoreboards and data-backed lower thirds into the same real-time pipeline that drives the stage, so a broadcast truck gets clean keys and a stable frame in and out. Our integration covers timecode lock, Genlock sync, and the failover rules that keep a key clean when the network hiccups. Anchor desks, studio walls and event floors all use the same operator discipline, and every graphic ships with a documented source so the master control room is never guessing.
See integration detailsOne stage. One team. One accountable ledger from marker to monitor. That is how CDSARHold keeps the take honest.
A production run that ends in a marked take.
Storyboards and marks set the floor plan and the eyeline before a lamp is struck.
The gaffer paces the floor and the sky for a clean key with no spill on the talent.
Dolly track, spike tape and optical targets are laid to the survey grid and validated.
Live composite holds at the village so the frame reads true while the camera rolls.
Final call on the marked take, logged to the ledger and handed to post without drama.
Next quarter the stage goes dark for you.
Bookable stage windows open from CDS AR HOLDINGS, LLC for the coming quarter, with crew, tracking kit and a live-village available on the cart. Reserve one stage day and one squad handles everything from spike tape to the marked take.
Why a single stage team keeps you honest
One ledger
Every take, build and marker logs to the same sheet, so nothing gets lost between departments and no one argues about the version that actually shot.
One floor
You block, light, track, comp and review on a single deck with a camera crew that already knows the walls and the light plot of that room.
One opinion
A lead operator owns the take to the monitor, so the final word comes from the person who framed it, not from three vendors pointing at each other.
One hour
Stage time is billed in honest increments with no hidden rig call, and a full wrap report lands in your inbox the morning of the next day.