Six stage lines, one responsible crew.
From the moment the marker hits the greenscreen to the frame that clears for post, the virtual production teams at CDS AR HOLDINGS, LLC keep the whole chain on a single accountable story. Here is exactly what each line does, who runs it, and what you can expect to walk away with at wrap.
Every production is quoted on the day rate below with crew, tracking kit and village support included. A producer can ring dispatch at +12233871381 or write to dispatch@cdsarhold.lat to lock a stage window.
Virtual Production Stages
Our flagship floor is a full cyclorama stage: a continuous green sweep that curves from the wall, curls across the grey deck and ends in a hard horizon line that lights clean and keys clean. The footprint is planned so a 4K lens can look any direction without catching a join, and the wide bay accepts camera cars, real furniture and a live talent lock-down all at once. We keep two light stands with sandbag props ready at the wall and a boom pole on the stand so the sound team has a place to work while the DP composes the master.
Stage day includes the floor, cyclorama, grip wall, video village monitors, power feed and basic lens kit. You bring the talent, the wardrobe and the storyboard; we bring the practice of hundreds of shoots where the take is judged at the village, not discovered in the edit bay. For brand teams the same floor doubles as a clean product bay with a seamless sweep behind a hero object. Booking is by the half day or the full day, and a call sheet is delivered before the truck ever rolls up.
AR Content Pipelines
Augmented reality demands that the digital world share a belief system with the physical one. Our content pipeline starts with the survey of the actual stage, keeps a measured 3D reference of the floor grid, and only then lets an assets artist begin. Every package is versioned, naming follows the call sheet, and a single dispatcher tracks the build so the compositor always knows which version is the live one. We support interchangeable formats and keep the raw scene graph available so a client team can continue the work after we hand it off.
Pipelines are sized to match your shoot rhythm. A one-day product bump gets a light mesh and a clean track; a multi-week brand campaign gets a fully lit virtual set with matching contact shadows and a colour pass that honors the real fixture gags. A lead artist runs a review at the village before the take, flags any mismatch to the gaffer in plain words, and walks a written status sheet into the wrap report. The goal is simple: the AR should behave like a practical prop on the deck, and it should fail loudly and early if it will not.
Real-Time Compositing Systems
The live composite is where a green take becomes a finished frame. We run a dedicated real-time compositing system at the video village, fed by the same camera, the same clean plate and the same virtual camera as the on-set monitor. Foreground, background and key sit on one operator timeline, so a change to the lighting is a change to the composite in real time rather than a note for the weekend. Producers can watch the actual frame during the take, approve it at the monitor and hand a master to post that matches what they saw.
Our composite operators dial the edge the hard way, chasing spill at the hairline and matching grain so the matte holds when the file is expanded. We run a dedicated key station for green and for any clean plate, with scope readouts on the desk rather than guesswork. For camera moves we integrate the tracking pass so the comp tracks with the lens. A take only clears when the operator signs it at the village; until then the run continues and we keep daylight between the look we sell and a look we would have to defend later.
Marker and Tracking Setups
Tracking makes the greenscreen honest. We survey a floor with optical instruments and lay spike tape and coded markers that belong to that stage, then build the camera track from the measured geometry so the virtual camera moves exactly with the physical one. Each marker is checked against the survey grid, drift is measured on the take rather than discovered in post, and the tracking data follows the footage in the exact form the compositor wants. A tracker builder owns the origin, the scale and the handedness, so the crew never argues about which way is up.
We track handheld floor shots, dolly and crane passes, and locked-off clean plates alike. Where a client already has a tracking system, we bring our own markers and our own audit pass rather than trusting a box we have not met. Every setup ships with a written tracking report that states the origin, the tolerance and the checks that passed. On a multi-day shoot the spike tape stays taped and the data stays current, so a return day starts where the last one ended and no one re-measures a floor that never moved.
LED Volume Consulting
An LED volume is a studio inside a display, and it rewards planning more than impulse. We consult on the whole build: the physical bay and its power, the panel pitch a given lens distance actually needs, client capacity for the camera tracking, the cabling spine for the render engines, and the latency budget that keeps talent in frame without swimming. We have lit and lensed volumes that ran for weeks of continuous shows, and that ledger shows up in every recommendation we hand you so a build does not restart its cost model at the first retake.
Scope runs from a short panel-audit of an existing wall to a full greenfield design for a fixed or mobile volume. You get a documented signal path, a realistic power and cooling figure, a lane map for content engines, and a list of the measurement steps we would take on day one before we roll. When you proceed we can stay on as the integration team, wiring the tracking, running the calibration and staffing the village so the volume behaves like a set and not like an argument waiting to happen.
Broadcast Graphics Integration
Live television does not forgive a graphic that slips a frame. We wire camera-fitted AR overlays, scoreboards, lower thirds and data-backed graphics into the same real-time engine that runs the stage, then lock it to timecode and Genlock so the broadcast truck receives clean keys on a bound grid. Failover rules keep the key clean when the network hiccups, and a documented source accompanies every graphic so master control never guesses where a frame came from. Anchor desks, studio walls and live event floors all use the same operator discipline we run on the greenscreen stage.
Integration begins with a signal survey of the truck and the desk, moves to a key test on a real frame, and ends with an on-air rehearsal the operator signs off. We support AR anchoring to a physical set, text that follows talent, and statistics that swap live from a data feed. Where your feed exists already we hook to it cleanly; where it does not, we help you stand one up. Every delivery comes with a written integration note, and our crew stays reachable at the phone line by the truck for the first live show so a producer is never left on hold at the worst minute.
From first spike mark to the marked take.
Plan the marks
We survey the deck, plot the eyeline, and spike the floor before any lamp is struck so the geometry is settled.
Block the frame
The director blocks talent and camera on the same grid the tracker will use, with the dolly track laid to the survey line.
Build the asset
AR and LED content arrive versioned to the plate; a lead checks every build against the real floor before the take.
Comp and review
We roll, composite live at the village, and only mark Take Approved when the operator signs the monitor frame.
Bring the idea. We will bring the stage.
CDS AR HOLDINGS, LLC books its single stage by the day with crew, tracking kit and a live village included. Tell us the shot and we will quote the stage day by return.