Virtual production opens up new creative possibilities, but it also turns the way we work upside down. In the research project Virtual Point, we have worked systematically to examine what this technology actually requires in terms of organization, collaboration, and workflow.
There has long been talk about what virtual production means for the film industry in terms of visual possibilities, environmental benefits, and efficiency. But far less has been said about what it demands. For when physical and digital scenography merge, the entire production must also rethink its approach. Areas of responsibility begin to overlap, decisions are moved forward in time, and established workflows must be adjusted and put back together.
Deep dive
This is what we wanted to understand better in our work with Virtual Point, a project we are doing together with IFE (Institute for Energy Technology), LEDHUB and Østfold County Council. Here we have taken a deep dive into what happens behind the technology: the collaboration, structure and logistics that actually make a virtual production work.
How we worked
We have interviewed and observed both creative and technical teams, from large studios to smaller test setups. Our analysis shows where decisions are actually made, who makes them, and which roles are involved, or should be. We have also mapped where in the process friction occurs.
We have specifically looked at:
- How areas of responsibility and tasks change in VP productions
- How much needs to be ready before the camera starts rolling
- How collaboration between disciplines affects both progress and outcome
What we found
Even though the technical potential of virtual production (VP) is easily fascinating, we have found that the organizational framework around the technology is just as crucial for success. VP challenges established roles and ways of working, and in this project we have tried to look closely in order to understand how this actually plays out in practice.
What is clearest is that critical decisions must be made much earlier than in traditional production. This puts pressure on collaboration between technical and creative roles, making early involvement crucial. When that doesn’t happen, friction easily arises that can lead to delays, misunderstandings, or half-baked solutions.
Previsualization therefore becomes key. Here, the director, producer, cinematographer, production designer, VFX and VP leads, as well as developers, should all be involved from the start. When these roles come together early, it becomes possible to test ideas, uncover conflicts between physical and virtual content, and find shared solutions before moving ahead. This not only produces better results, but also reduces the risk of costly mistakes later in the process.
The same applies to location scouting. When physical and digital environments are to be combined, it is important that the director, cinematographer, VP team, and production manager consider both creative and technical aspects early in the planning. This way, locations can be assessed not only for filming, but also for how they can be scanned and recreated digitally, so they can be integrated seamlessly into the production. When developers are not involved from the start, physical sets can end up conflicting with the virtual content.
These challenges can be avoided thorough pre-production, but that requires a shared understanding between creative and technical roles. While the technology opens up new possibilities, the roles themselves are also shifting. When scenography becomes both physical and digital, responsibility for visual direction begins to change, and the production team needs to be expanded with expertise in 3D and game graphics. Exactly how this is organized may differ, but the project framework tends to be what makes the difference.
A recurring finding is that communication across cultural differences is demanding. Filmmakers work within a linear project logic, while developers and 3D artists work iteratively and with a different technical and methodological language. Everyone wants collaboration, but without structure and a clear common language, it takes time to build understanding. In productions with small budgets and tight timelines, this quickly becomes an unpredictable cost driver.
The same applies to location scouting. When physical and digital environments are to be combined, it is important that the director, cinematographer, VP team, and production manager consider both creative and technical aspects early in the planning. This way, locations can be assessed not only for filming, but also for how they can be scanned and recreated digitally, so they can be integrated seamlessly into the production. When developers are not involved from the start, physical sets can end up conflicting with the virtual content.
These challenges can be avoided thorough pre-production, but that requires a shared understanding between creative and technical roles. While the technology opens up new possibilities, the roles themselves are also shifting. When scenography becomes both physical and digital, responsibility for visual direction begins to change, and the production team needs to be expanded with expertise in 3D and game graphics. Exactly how this is organized may differ, but the project framework tends to be what makes the difference.
A recurring finding is that communication across cultural differences is demanding. Filmmakers work within a linear project logic, while developers and 3D artists work iteratively and with a different technical and methodological language. Everyone wants collaboration, but without structure and a clear common language, it takes time to build understanding. In productions with small budgets and tight timelines, this quickly becomes an unpredictable cost driver.
Where we are heading
Virtual production is constantly evolving, and so is the way we work with it. That’s why we are developing a framework to make it easier to structure VP across roles, disciplines, and technology.
The ambition is not to standardize the process or limit creativity, but to create a common starting point. A process that provides clarity about who does what, when and with what expectations. It is based on real insight from actual productions, and is further shaped in line with new experiences and collaboration with the industry.
Next steps
Virtual Point runs until September 2025. For us at Netron, this is about understanding how a new tool affects the entire way we organize and carry out film production.
Virtual production does not change the film industry, but it opens up new ways of collaborating. For us, this is an opportunity to build stronger bridges between creative and technical environments, and to develop closer collaboration across the industry.
In parallel, we are working to establish a competence center for virtual production. The goal is to bring together the industry, connect professional communities and help shape the educational offerings of the future. We want to create an arena where different parts of the industry can meet to test, learn and explore new ways of working, while at the same time the experiences from actual productions benefit the entire environment.
