Interview by Zoltan Batho G, 7th of July, 2025. / updated
Zoltan: Tell us who you are and what you do.
Barnabas: I’m Barnabas Csutak, a Producer and Growth Consultant currently working with District Cinema. My work focuses on designing and implementing virtual pre-production workflows that bridge the gap between reality capture or emerging tech companies and the practical needs of real-world productions. With a background in physical production, I transitioned into virtual workflows to help studios and tech companies collaborate more efficiently, sustainably, and creatively.
Zoltan: How did you get into the space?
Barnabas: For the past eight years, I worked on major physical productions in Hungary, a hub for international filmmaking thanks to its strong tax incentives. I’ve been part of production teams on shows like The Continental or Russian Doll. During COVID I began exploring Virtual Production and became increasingly interested in these tools could improve production efficiencies.
Zoltan: Despite Hungary’s booming film industry, why pursue a career in LA?
Barnabas: Hungary has a vibrant production scene, but I always aspired to be part of projects from an earlier stage when key creative and logistical decisions are made. I realized that to get involved at that level, I needed to be in LA, where many of those decisions still originate.
Zoltan: What made you focus specifically on reality capture?
Barnabas: Like many, I started experimenting with LiDAR using my iPhone. The early results weren’t production-ready, but I immediately saw the long-term potential: reality capture could give filmmakers access to real-world locations without having to physically be there.
Zoltan: What’s your current role in virtual production?
Barnabas: My team and I are building a pipeline we call Virtual Pre-Production, a comprehensive workflow that allows directors, DPs, production designers, producers and other key crew personnel to scout, visualize, and plan their shoots remotely. Using high-resolution 3D scans, VR-ready environments, and centimeter-accurate digital twins, we support everything from camera blocking and lens testing to art department planning and unit logistics. We work at the intersection of creative decision-making and technical planning.
Zoltan: Who are these workflows designed for?
Barnabas: On one hand, we’re targeting independent productions who may have assumed virtual production equals shooting in expensive LED volumes. Many of them prefer shooting on location, as volumes can have limitations, but that doesn’t mean traditional production workflows can’t benefit from other VP tools. On the other hand, for productions that are shooting outside of LA. Filming here became something of a luxury for most productions and the majority of projects are relying on out-of-state or international tax incentives. A big portion above the line personnel spend overseas if often during pre-production. Our workflows aim to reduce the amount of time creatives have to spend away from their home and instead bring the filming locations back virtually for them. This not only makes the planning process easier but also generates significant cost savings, allowing lower budgeted shows to be able to afford shooting internationally and benefit from tax incentives.
Zoltan: What does the workflow look like in practice?
Barnabas: Once locations are pre-selected, we scan them, usually under 30 minutes per site. We process and clean up the data which then is shared with stakeholders. It’s much easier for them to understand a space this way compared to combing through hundreds of 2D photos. We also host virtual scouting sessions in Unreal Engine where Directors and DPs can fully immerse themselves into the space, explore ideas, block camera frames, test lenses, track sun paths completely remotely. From there, we generate storyboards, PreVis, TechVis, or even animatics for each scene. Beyond creative planning, our scans help crew departments as well. With centimetre accuracy, art teams can take virtual measurements; unit teams can calculate square footage for base set up; location managers can check for power sources or size limitations all without leaving the production office. All assets live in a cloud-based system where creatives can review materials, collaborate, and maintain feedback loops in one place. The goal is to reduce the need for travel during pre-production, cutting costs and carbon emissions while streamlining decisions.
Zoltan: What tech do you use for scanning?
Barnabas: It depends on the application. For PreVis we use SLAM-based scanners, which give us lightning-fast turnaround on clean, usable 3D models. We can also utilize a combination of other gears like BIM grade scanners, DSLR cameras and drones to achieve even higher quality for final pixel volume shoots or post production applications.
Zoltan: Beyond production workflows, what else are you working on?
Barnabas: I’m working on cultural heritage preservation projects, using 3D scans to create virtual access to historic sites, mainly for educational use. We’re also exploring sales enablement through 3D visuals, which are becoming a powerful tool for pre-selling locations and concepts. As a company, District Cinema is also active in the location-based entertainment space, building immersive experiences using markerless motion capture and mixed reality tech.
Zoltan: What’s next?
Barnabas: We’re building a global network of reality capture companies, so we can deliver consistent, high-quality virtual assets regardless of the location. My focus is on connecting emerging tech solutions with studios and productions, customizing workflows to suit specific project needs. Ultimately, my mission is to democratize virtual production tools and making them accessible to indie filmmakers, enabling faster creative decision-making, and freeing teams from geographical or financial limitations. That’s the future I’m building toward.
To contact Barnabas:
