Brompton Technology powers sci-fi journey at UK’s CUBE Studio for Afterglow film

This autumn saw CUBE Studio once again pushed the limits of storytelling and creative technology, creating beyond the ordinary to bring South Asian director Arvind Jay’s latest sci-fi short, Afterglow, to life. Using CUBE Studio’s Virtual Production stage in Berkshire and powered by Brompton Technology’s advanced LED processing, Jay was able to craft an immersive space environment essential to the film’s vision.

Afterglow is a deeply personal project for Jay, a Singapore-born director now residing in the UK. The film mirrors his concerns about leaving a legacy, both in his work and his family life. “My parents worked hard to send me to the UK,” Jay explains, “and I want them to understand and appreciate my work.”

The production prioritised diversity and inclusion, with 100% of the cast and 70% of the crew coming from under-represented communities in film and television. The story follows a man grappling with loss while striving to create a better life, exploring themes of letting go and leaving behind a positive impact.

Jay’s filmmaking journey began at Arts University Bournemouth (AUB), where his graduation film Stargazer was a success, earning over 118,000 views on YouTube after being sold to DUST, a platform for sci-fi films. After the success of Stargazer, Jay embarked on Afterglow, supported by AUB’s Futures Fund, which provided financial backing and access to top-tier equipment.

During production, Jay connected with CUBE Studio through filmmaker Andrew McGee – writer and director of The Edenbound, who recommended he reach out to Roy Kimani, co-founder and Creative Director/Director of Innovation at the studio. This collaboration led to the filming of Afterglow at CUBE Studio, where Brompton’s LED processing technology helped bring Jay’s vision to life.

CUBE Studio’s 10.5m by 5.5m Unilumin UpadIV LED volume wall is powered by a Brompton 4K Tessera SX40 LED processor, with three Tessera 10G data distribution units supporting the setup. Other advanced technologies, like Mo-Sys camera tracking and Unreal Engine and AI visual generation tools, enabled the creation of virtual environments essential to the sci-fi setting. Brompton’s LED processing ensured seamless screen-to-camera interaction, allowing real-time shooting with precise control over colours and brightness.

For Jay and his team, it was their first experience working in a virtual production environment, but CUBE Studio’s team, including Creative Producer Owen Riseley, guided them through the process. Brompton LED processing played a critical role as the bridge between the camera and the screen. Although no actual tracking was used in this project, the team focused on how movement – both on set and in-camera – would align with the VFX.

“A key feature of Brompton was isolating specific parts of the screen to place tracking markers on individual panels,” explains Riseley. “This allowed our VFX Supervisor, Julian ‘Eddie’ Hodge, to composite elements more precisely during post-production, saving time and giving the VFX team a level of flexibility they don’t typically have.”

Riseley emphasises that integrating new technology, both technically and creatively, helps people see it not just as a tool but as a catalyst for creativity. “It opens doors and opportunities that weren’t possible before,” he says. “With Brompton, the technology becomes almost invisible, but it’s a critical part of the process. On this shoot, we managed the pipeline to ensure the bit depth and dynamic range needed to replicate a space environment. Brompton also helped us synchronise everything, from the VFX pipeline to tracking markers, so everything worked in unison.”

The use of LED screens in the VP studio also made the filming process easier for the actors. Jay could place performers directly in the scene, unlike a green screen approach, which requires actors to imagine their surroundings during filming. With live editing available on the LED screen, the actors could see the unfolding action and immerse themselves in the space.

According to Riseley, Brompton LED processors consistently delivered the best possible image output, with everything working cohesively. “That’s what Brompton does so well,” he exclaims. Tessera software features like Extended Bit Depth and PureTone, as well as enhanced functionality for camera inputs, shutter speeds, and trackers, were invaluable in streamlining the production process.

“All these little things save time and reduce hassle,” Riseley continues. “For example, being able to add trackers on specific shots and knowing we can place them without causing unnecessary reflections or post-production complications is an incredible resource.”

Patrick Goodden, Brompton’s Technical Sales Manager (UK & Ireland), highlights the impact of the collaboration. “Working on Afterglow has been an exciting opportunity to showcase how our LED processing can push the boundaries of visual storytelling,” he concludes. “The team at CUBE Studio fully utilised the Tessera system, blending virtual and live-action elements with precision, opening up endless creative possibilities for filmmakers.”