Meptik Takes the Audio\Visual Crew Through Five Locations in One Day with Seamless Virtual Production

PH: What inspired the decision to use virtual production for this PSA about veterans' mental health, and how did this technique help convey such an emotionally charged message?

Andy Vallentine: Creatively, we wanted to capture these intimate vignettes of a Veteran’s journey, painting a dynamic and powerful portrait of life during service, after, and throughout treatment. We aimed for something that was both captivating and emotionally engaging, something that would hold the audience's attention from start to finish.

From a logistical standpoint, we needed to show Veterans in vastly different environments—ranging from Afghanistan to the Grand Canyon to group therapy sessions—while keeping everything within the confines of a one-day shoot. Virtual production made that possible, and it gave us the flexibility to ensure each setting was depicted with great accuracy while also creating striking, immersive visuals. Working in this environment with a talented, experienced team allowed us to meet those challenges head-on and create something that feels both emotionally authentic and visually stunning.

Andrew Amato: The decision to use virtual production for the Veterans' mental health PSA was really inspired by a mix of curiosity and practicality. The client was intrigued by this emerging technology and how it could streamline their vision. At the same time, there were clear advantages in terms of cost savings. Instead of traveling to five different locations to shoot two 30-second spots, we were able to recreate all of those environments on a single stage and shoot all locations within a day. This approach allowed us to focus more on the storytelling and emotional depth of the message, without the logistical and financial challenges of traditional on-location shoots.

PH: Can you walk us through the collaboration process between The Audio\Visual Crew and Meptik’s Virtual Art Department (VAD)? How did real-time feedback influence the development of the virtual environments?

Andrew A.: Every week, we’d have live review sessions with the director, DP, and production designer where we’d make real-time adjustments to the lighting, set pieces, and lensing. These live sessions were crucial because they allowed us to dial in the look week by week. Outside of these sessions, we’d work on larger, more time-consuming adjustments to prepare for the next review. Without that real-time feedback, we’d be constantly reacting instead of being proactive. The process really shifted our focus from fixing sets to spending more creative time on building them from the ground up.

Julianna Mercado: We also used animated characters and stand-in set pieces to block out shots, which gave us a clear picture of what things would look like on set. This made the blocking process quick and precise. By one of our final reviews, we had rendered the shots and cut them together into an animatic for the 30-second spot. That gave everyone a clear visual of how the final product would flow before we even stepped onto the stage.

PH: The PSA involves five unique environments, from a battleground to the Grand Canyon. How did you ensure each setting felt authentic and resonated with the audience, especially considering the sensitive subject of veterans' mental health?

Andy Vallentine: To ensure each setting in the PSA felt authentic and emotionally resonant, it was a real team effort as we focused on the combination of the virtual background and practical set dressing. Our production designer, Brendan O’Connor really focused on the layers of practical elements—such as trees, umbrellas, practical lights, desks, these layers are what really sold, and brought the virtual backgrounds to life. These real-world touches grounded the virtual spaces, making them feel lived-in and believable, ensuring the audience connected with the sensitive subject of Veterans' mental health in a meaningful way.

Andrew A.: Each scene had to feel absolutely authentic—photo-real, well-lit, and well-lensed. We aimed for environments that were relatively neutral yet visually engaging so that they didn’t distract from the core message or come across as cheap. Virtual production really helped us manage budget limitations because shooting these environments practically would’ve been incredibly expensive, maybe even out of reach. The collaboration between the virtual production team, DP, director, and production designer was key. Together, they ensured everything felt believable and real. When you're dealing with veterans' mental health, the last thing you want is content that looks cheap or inauthentic—it’s too important.

PH: What were some of the key advantages of using Unreal Engine and virtual scouting in the production process, particularly in terms of efficiency and creative flexibility?

Julianna: One of the biggest advantages of using Unreal Engine was the speed at which we could create and adjust environments in real-time. It gave us the flexibility to meet tight client deadlines without sacrificing quality. Virtual location scouting played a pivotal role in that process—it allowed us to explore and refine these environments before we even got on set. Unreal Engine comes loaded with tools, from setting up and animating cameras to real-time lighting and robust character animations. This all played a huge role in fleshing out our pre-production process. We could make creative decisions earlier and with more precision, which saved us a lot of time on set and ensured that the final product was polished.

PH: How did Meptik's ability to deliver photoreal, final-pixel imagery directly from in-engine impact the post-production process? Were there any specific challenges in managing the virtual-to-practical transitions during filming?

Andrew A.: What really made an impact on the workflow was that our sets required almost no adjustments from the post-VFX team. This meant that from the start, the estimates, budgets, and actuals for post-production aligned perfectly, which was a pleasant surprise for everyone. 

During production, we also locked camera tracking and mattes via timecode, ensuring every shot had a master camera recording and a clean plate of the virtual environment with precise camera movements. This gave post-production the flexibility to use the clean plates as needed to add or remove virtual elements. 

The only VFX work needed was painting out the lighting fixtures used to mimic sunlight; everything else within the volume remained exactly as it was captured in-engine. Delivering photoreal, final-pixel imagery from Unreal Engine allowed us to skip many of the typical post-production hurdles, keeping the focus on fine-tuning the story rather than fixing sets. 

PH: Carlos Fueyo mentioned working closely with the production designer, director, and director of photography. How did their input shape the final virtual environments, and what role did interactive calls play in achieving the desired visuals?

Julianna: The interactive calls allowed the key creatives to see their vision come to life immediately, instead of relying on interpretations after the fact. We worked closely with the production designer, director, and DP throughout the process, and their input was key to shaping the final virtual environments. For example, we set up cameras to mimic what the DP was using on-site and even replicated props for set dressing, ensuring everything felt cohesive. This also gave us the ability to block in transitions that we were planning to use in post, or at least visualize them for the DP and director. That way, they could make calls on what worked and what didn’t. That’s the real strength of real-time workflows.

PH: For a project focused on raising awareness about mental health, storytelling through visual environments is crucial. What strategies did you employ to ensure that the visual elements aligned with the emotional tone of the PSA?

Andy Vallentine: For this PSA, it was critical that the visual environments reflect the emotional core of the Veterans' stories. We started by identifying the emotional beats of each vignette—whether it was moments of isolation, resilience, or hope—and then matched those with corresponding visual metaphors. For example, expansive, open landscapes symbolised both the vastness of their experiences and the isolation that can come with mental health struggles. Our goal was to create immersive environments that subtly reinforced the narrative while drawing viewers into the emotional journey of each Veteran.

PH: In what ways do you believe virtual production techniques can change the landscape of public service announcements or similar cause-driven projects in the future?

Andrew A.: Virtual production opens up a whole new world of possibilities for PSAs and cause-driven projects. We can create any environment, at any time, without the need for large budgets or traveling to multiple locations. PSAs typically don’t come with big budgets, but with virtual production, we’re able to deliver high-quality ICVFX and photorealism right within the volume. The flexibility and efficiency of this approach mean we could produce these types of projects all day, without compromising on the quality or the impact of the message.

PH: Given that the PSA was filmed on the XR Stage in Los Angeles, how did the stage’s flexibility contribute to the overall efficiency and fluidity of the production process?

Andrew A.: The XR Stage in Los Angeles was pivotal to the success of this production. Not only did they work closely with us on budgets and provide top-notch LED techs, but their understanding of the virtual production pipeline made everything so efficient for everyone involved in the shoot. Anytime we needed input or had troubleshooting questions, they spoke the same language, whether it was from a production or VP perspective. Being LA-based was also a big advantage—we could bring our gear in early to test everything and ensure it was optimized for that specific screen.

PH: What feedback have you received from the client (U.S. Department of Veterans Affairs) regarding the effectiveness of using cutting-edge virtual production technology to communicate such an important message?

Andrew A.: The client mentioned how much fun they had on set and we're thrilled with how the shoot turned out. After the shoot, there were a lot of hugs and high fives. During one of the takes on our backyard set, they were looking at the viewfinder and couldn’t help but laugh—they said they couldn’t tell what was real and what was on screen. Honestly, there’s no better compliment than that!

Andy Vallentine: The client loved the spot, the blend of new technology with traditional filmmaking practices were a perfect combo for this PSA that we hope it translates to Veterans as they seek help on their mental health journey.