Published on Wednesday, August 6, 2025 – Production Hub
Have you ever stopped to think about how much technology goes into creating a television program or movie? I think about it all the time (okay, it’s my job), but I know a lot of you do as well. The marriage of technology and creativity? It will always be a significant part of what we do, and there’s always something new and exciting to learn in our space.
If you’re like me, you always want to explore the different technologies that make our production world happen. With that in mind, I recently dove into an intriguing and very deep conversation with an up-and-coming filmmaker who was in the early stages of preproduction. She wanted to shoot on a volumetric set, which I think is incredibly cool. If you’re not familiar, think NYU Tisch’s virtual production program or Trillith Studios in Atlanta. Those are just two great examples of volumetric studios.
Back to my point: our aspiring filmmaker had heard about volumetrics and in-camera VFX and wanted to know more for her next film. That’s when it hit me, I haven’t shot on a volumetric set or used in-camera VFX plates! But, like you, I wanted to learn more because this area of production is growing pretty fast. According to Markets and Markets, the global volumetric video industry was valued at $2.2 billion in 2023 and is projected to reach $7.6 billion by 2028. That’s a big number!
Feeling compelled to learn more about volumetric and in-camera VFX, the similarities, the differences, and what makes them tick, I reached out to Eric Hasso of Igelkott Studios. Igelkott Studios is a Stockholm-based production company specializing in In-Camera Visual Effects (ICVFX) for film and television. The studio focuses on creating high-resolution, 360° background plates and shooting cinematic scenes, entirely in-studio using projection screens rather than on-location driving or green screen setups. Eric is a true renaissance creative, with a wide range of technical and creative expertise in camera and volumetric production. His client list includes notables such as Netflix and Amazon.
Eric was kind enough to walk me through a great technical session about volumetric shooting, but especially his own in-camera VFX process and what he thinks producers should keep in mind (and do) to be ready for their shoots.
What is “In-Camera” VFX?
I got right down to brass tacks and asked Eric: If someone asked you what in-camera VFX is all about, how would you explain it?
“In-camera VFX is about capturing visual effects directly through the lens, by placing a screen behind the set and talent, rather than compositing them later in post. The goal is to create finished frames in real time, on set, with the cast, crew, and camera all reacting to something that’s actually there. You’re blending physical and digital elements live, so everyone sees the same thing. That improves performances, lighting, and even blocking, because the world is visible, not imagined.
“There are a few ways to do it, such as live 3D rendering, but I work exclusively with 360° plate photography, with the whole world captured in-camera. I shoot ultra-high-resolution environments, up to 16K360, on location with a single-lens system, and bring them into the studio using a rear or front projection setup. No stitching, no greenscreens, no LED walls. What you see on set is what you get in the camera, which people can download samples of for free on my website.
“It sounds simple, but the workflows are highly technical, and not all producers or DPs have encountered it before. That’s why I created the Producer’s Manual (available on my website), a guide that outlines what I do, what the production needs to provide, and how we prep, shoot, and deliver. It’s designed to eliminate guesswork and get everyone speaking the same language early on.” Continue reading
SOURCE:
Production Hub: https://www.productionhub.com/blog/post/an-eye-opening-lesson-on-in-camera-vfx-with-eric-hasso-igelkott-studios
