No greenscreen keying, no post production, you just have the perfect key. The actors know where they are, they can react to the environment. The light reflections are real on the actors (180 degree LED wall + LED ceiling + LED sliding panels), everything is believable wherever you are in the real or fictional environment. The cost of scenery is extremely low and you can shoot several environments in one day.
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Yes, the entrance is also suitable for SUVs or vans. Bus is not possible anymore.
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Yes, we have 74 cameras installed in the studio and offer a stable environment with Pixera or according to the customer’s wishes. Always on high performance interconnected computers.

Our setup is built on several interconnected high-performance computers and we run everything on Pixera, which is recommended by companies such as Netflix in the first place. We do not disassemble our LED wall or offer it for external use, we care about every pixel and the stability of the projection. All surfaces are from one production, i.e. back wall, ceiling, staging walls and other sliding modules.

Yes, with us you can tilt the ceiling forwards and backwards and change the angles of reflection of the light, as well as lower or raise the ceiling.

Yes, we have a pantograph system installed behind the wall and on the sides, with several ‘suns’ or Arri 500W lights permanently mounted.

Yes, our Arri Alexa Mini and Canon 500 cameras have passed our tests, and we also offer the Canon 300 depending on the complexity of the shots. These cameras are included in the rental price, along with lenses. If you have your own camera with genlock, it is always necessary to perform a test before shooting, due to the current condition of the camera and the complexity of shooting the prepared background. We generally recommend RED cameras with the X designation due to their film-like shooting mode (global shutter).
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1. RED Komodo X, RED Raptor XE, X, XL – 0 ms – global shutter

The speed of reading data from the sensor is a critical factor for cameras with rolling shutters, especially in virtual production. Higher speeds (lower ms values) are an advantage. Please note, however, that each camera needs to be tested individually, taking into account all relevant factors.

2. Sony VENICE 2: < 3ms
3. ARRI ALEXA 35: 5.7ms
4. ARRI ALEXA Mini (LF): 7.4ms
5. RED V-RAPTOR 8K VV: 8ms
6. Sony A7S III: 8.7ms
7. Canon EOS C400: 9.5ms
8. Canon EOS R3: 9.5ms
9. Blackmagic URSA Cine 12K LF: 12ms (12K Open Gate),5.5ms (8K/4K FullFrame) …depending on the settings, the order would change(!)
10. Canon EOS C500 Mark II: 15.8ms (6K RAW 17:9)

Other cameras have higher ms values, such as Sony Burano, FX9, Blackmagic Pyxis, and others. Older Blackmagic cameras with global shutters may be an advantage. The quality of sensors, dynamic range, and phase shifts in cameras are also issues.

We also recommend Lumix cameras, which are “RED for mortals,” or Sony A9 III. The Nikon Z8 / Z9 SLR camera has 3.7 ms. That is, if you dare to try “cameras” and the test works out.

Genlock is, of course, important. Without it, testing is inevitable, but many filmmakers take a chance and shoot TV and streaming shows right after a quick test without genlock. We cannot rule out the possibility that we have forgotten some cameras or overlooked them on the market.

Everything always depends on testing and consultation with us regarding how the cameras are set up, what condition they are in, or how the materials for filming are prepared. We always approach everything with great care.

Yes, we have a total of three places to safely hang people, bikes, motorbikes

Yes, you can do that too. We always recommend one full day and spend the morning preparing, lighting and the afternoon shooting. Each shoot has different prices depending on the use of the LED wall.
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Filmed by you, bought from databases or made with AI or Unreal engine. Our pre-production studio can tailor all the material for you, including graphics. We recommend HD, or 4K and 8K.

Yes, this is our standard offering. Both pre-production and post-production. Ideally, we guarantee everything with our experienced supervisors.
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The rule is simple. For our P 2.6 system, it’s 2.6 merts (ideally). We recommend not to take any risks and discuss everything with the supervisor representing Studio Progress or our trained LED wall specialists.

We recommend a supervisor for more demanding projects with video projection and video tracking. We work with leading Czech VFX supervisors and always give you a choice of several big names in the industry. Our supervisors have many years of experience with both Czech and large international assignments shot with LED technology. This is not a requirement, just a recommendation.

You don’t need one and it’s entirely up to you, especially if you’re projecting only graphics into the background or it’s a simple shoot. After getting to know your project, we will always recommend a solution. Sometimes just an LED operator to play the material you supply may be enough.

Yes, it is possible, we have filmed several successful tests. The floor is either painted white or photographic paper is used. We have permanently removed the visible joints. We always adjust the white colour on the LED wall according to the floor.
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In the case of AI it can be a few hours, in the case of unreal engine it can be a week. For graphics, it depends on the complexity. It always depends on the complexity of the job. This is a rough estimate for a typical one-day job.
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In the case of shooting on an LED wall, the time for post-production is practically zero, unless you count coloring or correcting mistakes. Either way, you save months in post-production

It is definitely the refresh rate, which in our case is 7680 Hz and above. An extremely high frequency is necessary if the wall is to be filmed by professional cameras with rolling shutters to prevent flickering, horizontal lines, or black frames in the recording. For example, RED cameras with the X designation, i.e., with a global shutter, do not have this problem. The brightness is up to 1000 nits for us, and the scan rate is also important. Other quality factors include the correct setting of the 3D model, professional calibration, bit depth, above-standard and proven software, powerful hardware, as well as viewing distance. In our case, it is 2.6 m. The size of the sliding ceiling and the ability to adjust different angles or have a sufficient number of sliding walls are also important.

• Stage rental
• light park + equipment + cameras
  see list of equipment see: https://pokrok.com/en/studio-pokrok-equipment-rental/
• backstage space during filming in rooms A, B, C, D
• wireless internet – WIFI in all areas
• parking in the courtyard for a pre-arranged number of cars, a total of 40 parking spaces are available
  Price for parking additional cars 500,- CZK per day per car, if there are free capacities.
• Production rooms, restaurant area, dressing rooms, make-up rooms, costume rooms

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We now have a total of around 40 parking spaces in two adjacent yards. Depending on the order and the number of days, we guarantee or reserve individual spaces for a fee. However, it is always necessary to notify the number of spaces in advance.
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Yes, for example, you shoot in the A stage, shoot in the B stage and shoot green screen interviews in the E stage. Or you can also use the F podcast studio.
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Yes, according to your ideas and drawings.
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We offer all kinds of catering by arrangement, including vegetarian and vegan, or according to your requirements. The facilities are tailored to this.
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We have both VIP dressing rooms and dressing rooms for large numbers of costumes. Each dressing room has an assigned shower. Make-up rooms belong to stages A, B, E and G, can be combined in various ways and are included in the stage rental.
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No matter how challenging the project, it is in your best interest to share all information with us before the shoot. We can design a production method that can save you money not only during the shoot, but also during post-production.

The earlier we do it, the more time we have to prepare. With TV projects, it’s all about the technology of production depending on post-production. For film projects, we deal with visualization (animatic) especially of the trick scenes to get a better idea of how the scene may look in the end and how challenging it will be to realize.

The data is the most important part of the whole project. We will arrange for DIT on set (first backup), then prepare all data for post-production (second backup), and for long-term projects we recommend a third backup to LTO-9 tapes or other external disk arrays.

One extra backup of data to work from in post-production is only for the production that likes to take risks 😉. Two backups are good, but if by chance something happens in production with one backup, then at any given time you have a single backup from which you need to make a copy immediately, and that takes time on larger projects. 3 backups of data makes sense.

We always decide based on the project or the editor’s preferences. For editing we use Avid Media Composer or Davinci Resolve.

Theoretically yes, but we don’t recommend it. Our editing assistants and technicians may not be able to solve all the technical problems with other software that we don’t normally use.

Yes it is possible. We will prepare the data for editing and hand it over to the editors upon agreement. We also do projects where the editors connect remotely and the whole production takes place at our place, even though the editor is at home.

We always budget to keep the data for the duration of the production of the project. We delete the data after production is complete, unless a longer archiving period is arranged.

Every project is a challenge that we look forward to. Whether it’s feature films, long-form TV series or reality shows. Daily formats are not an obstacle for us either, we submit them for broadcast 48 hours after shooting.

The hall comfortably seats 8-10 people, and we have workspaces for two additional guests. It is also possible to add extensions.

We have a professional BARCO SP4K-12C laser cinema projector.

The cinema is primarily intended for color grading films for cinemas, for approval screenings and presentations. It is also used for approving VFX, shooting days, or any other details where you simply need to see the work on screen in high resolution.

Yes, our production and reception teams will arrange full service, including catering, according to your requirements.

Yes, you can order a screening of a film of your choice, supplied by you, with full service for your partners or friends.