GODBOX™ Powers Deathtrap Dungeon Virtual Production

GODBOX™ Powers Deathtrap Dungeon Virtual Production

Deathtrap Dungeon: The Golden Room is an interactive movie based on Ian Livingstone’s multi-million selling classic gamebook. Starring Georgia Hirst (Five Dates, Vikings) and Marcus Fraser (Transformers: The Last Knight)

OSF Director of Virtual Production Asa Bailey supervised the project, placing the actors into real-time rendered virtual sets. The shoot took place in Cardiff at the studios where the BBC’s DR WHO is filmed. On-Set Facilities™ the developers of the GODBOX™, provided the technology. On the day, FPS was kept high, and data stable, running the GODBOX™ real-time compositing pipeline.



Deathtrap Dungeon: The Golden Room is based on Ian Livingstone’s multi-million selling classic gamebook

Thought the pre-production and the shoot, Unreal Engine was used as the real-time engine, running on On-Set Facilities™s own cloud production VPN, nick named “Storm Cloud”. Using a secure cloud platform, crew came together on StormCloud to design and pre-test the virtual sets, design lighting, plan camera moves and block out the characters action.

Deathtrap Dungeon: The Golden Room is an interactive movie based on Ian Livingstone’s multi-million selling classic gamebook. A new interactive movie format players become the adventurer on their quest to the Golden Room.

Powered by GODBOX™ virtual sets using real-time compositing on blue screen.

As the Brave Adventurer faces many foes, they must tread carefully on your quest through to the Golden Room. Face the Trial-Master of the Dungeon Vhaidra and her tricks and traps as she tests your skill. Beware of the Bloodbeast lurking behind any door. Decide wisely, or find yourself in a Deathtrap.

One story, several different paths, endings… and deaths. A completely live action, cinematic interactive fantasy adventure movie. Starring Georgia Hirst (Five Dates, Vikings) and Marcus Fraser (Transformers: The Last Knight. Made with the support of Clwstwr, which is funded through the Creative Industries Clusters Programme and Creative Wales.

Virtual Production Supervisor
Asa Bailey

Wales Interactive
Good Gate Media

Wales Interactive

How far can Ncam MkII see – Outside!

How far can Ncam MkII see – Outside!

This week, we introduce you to a new series on our website called the OSF Field Test Diaries where we take you with us as we develop and test our virtual production systems. Today we took an Ncam MKII out and plugged it into our GODBOX Truck, to see how the camera tracking technology performed on location.

The OSF Godbox™ Truck, is kitted out for location VP.

DAY 1: Nothing to stressful for starters, power up and ready to go with GODGOX™ onboard. First, we just wanted to ascertain how the Ncam sees these vast landscapes and how it would interpret its surroundings.

Take a look at the blog video below to discover how far the Ncam can actually see. Shooting in 2500 km of the Snowdonia National Park in Northwest Wales, the OSF team is led by Director of Virtual Production Asa Bailey.

Follow Director of VP Asa Bailey on LinkedIn.

Annex Pro Appointed Official GODBOX™ Resellers

Annex Pro Appointed Official GODBOX™ Resellers

On-Set Facilities Appoints Annex Pro, Canada’s leading Media and Entertainment Reseller to the GODBOX™ Global Reseller Network.

On-Set Facilities, the developers of the GODBOX™ hybrid on-set computing platform, today announced an official reseller partnership with Annex Pro, Canada’s leading hardware and software reseller to the Media and Entertainment industry.

Annex Pro will be rolling out the OSFX verified GODBOX™ on-set computing platform to VFX facilities, post houses and on-sets across Canada and the United States; all backed up by Annex Pro’s highly experienced sales and support teams.

GODBOX™ virtual production systems

GODBOX™ joins Autodesk, Avid, Wacom, EIZO and Lenovo at Annex Pro.

Founded in 1983 and headquartered in Vancouver with offices in Montreal, Toronto and Los Angeles, Annex Pro is also strategically partnered with Autodesk, Avid, Wacom, EIZO, and Lenovo, providing tech solutions to the creative industry.

What this all essentially means, is better local customer service and support for GODBOX™ users in Canada and North America. Karim Areida, Executive Producer at On-Set Facilities said “We love working with Annex Pro they are a passionate, industry focussed team. We are proud to be working with Annex Pro as official Canadian and North American partners.”

The GODBOX™ on-set computing platform is a lab verified, hybrid, on-set computer platform that’s built to the OSFX proprietary on-set specification. The system architecture specification that answers the media and entertainment industries need for a verified, powerful, stable, production-ready, on-set computer platform.

About GODBOX™ On-Set Computer

With it’s unique ruggedised air-cooled design for near silent on-set running, the GODBOX™ is built, and OSFX verified, for running high-throughput, low-latency on-set applications such as those used in real-time VFX and hybrid virtual production.

Powered by NVIDIA GPU and AMD CPU technology, with 10G networking, System Sync, and 4 lanes of 8K SDI video I/O as standard, the GODBOX™ Pro Workstation comes ready to perform crew specific on-set tasks. Meanwhile backstage, GODBOX™ Hybrid On-Set Servers, provide production crews with high-performance, low-latency, stable, virtual computing, simulation, and cloud collaboration; on-set.

About OSFX and On-Set Facilities

Through thousands of hours of on-set testing and development, the OSFX proprietary specification outlines a number of on-set system performance parameters, to ensure that a computing system is capable of providing stable, high throughput, low-latency, computing.

On-Set Facilities is a UK technology company that develops the GODBOX™ on-set computer system and the OSFX on-set computer specification. Born on-set, the company’s GODBOX™ computers and OSFX real-time specification answers the conflict between real-time human performance, computational power, physical distance, and latency.

About Annex Pro

Annex Pro has helped thousands of media content creators make outstanding films, TV, games and more. We help design & deploy custom technology solutions our customers use to create awe-inspiring animation, visual effects, immersive & interactive experiences and digital media of all kinds on every platform, including for education and broadcast. Annex Pro is strategically partnered with industry leaders like Autodesk, Avid, Wacom, Lenovo, Eizo, Dolby, NVIDIA, Teradici, Qumulo, and now On-Set Facilities.

Talking about Virtual Pre-Production at MAKERS Conference

Talking about Virtual Pre-Production at MAKERS Conference

Fix it in Prep

How virtual production front loads creative decisions and costs

Starting on Wed, 9 Jun 2021, OSF VP Cinematographer Asa Bailey, will join VFX Supervisor Rob Legato and the virtual conference panel, to discuss their pre-production work-flows for virtual production, in an exclusive 2 day event from the team behind makers magazine and FOCUS, the Meeting Place for International Production.

Makers June pop-up is a 2-day virtual conference for the creative community exploring the merger of technology with storytelling. No longer hype, key technology advances from AI to Virtual Production and Cloud are delivering genuine creative and business benefits to production. Speakers include legendary SFX wizard Doug Trumbull (2001 A Space Odyssey, Blade Runner), Paramount Pictures Futurist Ted Schilowitz, Welcome to Chechnya Director/Writer/Producer David France, three-time Academy Award winner Rob Legato (Titanic, Hugo, The Lion King) and panelists from On-Set Facilities, DNEG, Entertainment Technology Centre, Rewind, Factory 42, Scriptbook, BUCK, Adobe, The Story Lab UK and StoryFutures Academy.

The Virtual Production technology and techniques with which The Mandalorian wowed the industry is coming on tap fast. What does that look like? Where are the pain points today if you don’t have the budget of The Mandalorian? Tips and advice for non-technical producers embarking on VP. Speakers: Rob Legato – VFX Supervisor, Asa Bailey – CEO On-Set Facilities VP Cinematographer, Lawrence Jones – VP Supervisor, BUCK.co, Erik Weaver – Director of Virtual & Adaptive Production, USC’s Entertainment Technology Center (ETC). See below link for the full list of speakers and to apply for tickets.

Free – By Invitation Only. If we are unable to offer places to everyone who applies, we will be prioritising requests from content creators who have at least one theatrical or broadcast credit. You can apply to attend here.

Keep under 4mm pixel pitch LED for virtual production

Keep under 4mm pixel pitch LED for virtual production

What if you’re a couple of guys in a LAB on a Friday and all you have is a 2m x 4m, 4mm (3.9) pixel pitch LED wall that you’ve been loaned by your mates at 80Six, looking at it, what could we get away with shooting on it?

That was this weeks OSF Friday Lab challenge. Usually, this particular panel is only used in our development studio for system testing, not for shooting. But what does an almost 4mm pixel pitch screen actually look like up close and personal; in a real cinema camera. It’s not bad, it’s not great either but if you take a look, it may be good enough for what you want to shoot.

As expected, Trying to not see the LED pixels in the camera, at this huge pitch size, is crazy hard, forget focussing anywhere within 4m of your LED, not gonna-happen you’ll see pixels in your final image, instead we had to position the talent at least 4m away from the screen, supporting the basic rule of thumb of having your talent 1mm = 1m from the LED (approx).

We then went wide open on the iris of our old RED zoom (2.9), we then hit max on the LED processors nits (to try and get as much light between the spaced out LED pixels as possible) but, then we had to ND filter up to counter the maxed out LED. Even then we struggled, a 2.9 could really do with being a 1.9.

Also if you ever need to use such a big pixel pitch as this for real, you are going to need a big shooting stage. What you see here was a total battle with focus points and the amount of stage area you would use with such a high pixel pitch LED (would be a potential 8m of wall clearance, if shooting reverse or in the round).

This means you need a lot more space when your shooting with higher pitch LED panels, as you need space to keep your DOF away from bringing the pixels sharp. All in all a good days shooting and we are happy with the results given the minimum crew, with no post,  all shot and edited in a day, it still amazes us how efficient virtual production is at filming content at speed.

To sum up we’ll be sticking with panels with a pixel pitch of between 1.9 to 2.8 on-set, but this was an interesting little Friday project to see what we could cook up with what we had to hand. I think we may knock a few more of these out over the coming weeks, it was great to actually shoot something on our studio. Be sure to subscribe to our youtube channel for updates.


RED Weapon 8K
Lens RED Pro Zoom 17-50 2.9
Lighting ARRI Orbiter

LED Infiled Model ER3.9
Brompton S4


Director / DOP Asa Bailey
Technical Director / Actor Ruben Bailey
System Engineer / Jordan Gough


Platform / GODBOX™ Pro
Software / UE4 / Ndisplay
Edit and Grade / Premier Pro 2021

GODBOX High Speed Camera Tracking for shooting on LED

GODBOX High Speed Camera Tracking for shooting on LED

By integrating multiple camera tracking technologies into the GODBOX Tracking Blox, On-Set Facilities have created a highly reliable, flexible, low-latency, camera tracking solution thats very effective shooting real-time, in-camera VFX, on LED stages. Based on a 4K 10bit, HDR processing pipeline the GODBOOX Tracking Blox has the ability to maintain tracking and render images to the LED, even at very high speeds.

Following the brief of “build a tracking system capable of tracking anything anywhere” OSF are doing just that. As seen in the Video below in our lab tests we push the GODBOX Tracking Blox with ultra-high frame-rate shooting and unpredictable handheld moves. Our two-way, 3D optical tracking integration allows for 75% occlusion of the physical camera without any cost of performance or signs of jitter. The system also comes with several extra tracking abilities catering to the “Anything” sector of our brief tracking any on-set rigid objects, such as props and sets, GODBOX Tracking integrates point-cloud, depth and object tracking. (Shot by Director of Virtual Production Asa Bailey)

Battle Testing – Why LED FPS speed is a key factor for filming real-time in-camera VFX using LED.

We looked at how tracking systems affects the user experience, looking at the camera operator who will often be the first person to notice any trouble with tracking within a shot. If the tracking system lags between processing g and the LED wall the illusion will break.

You can cancel out system lag for live broadcast or synced recording quite simply by slowing down the rest of the data streams, but if you are shooting in real-time, in-camera, recording real-time light to the sensor and card, just like when you are filming on an LED stage, then you need seriously fast camera tracking to keep up with your camera movement.

In out tests, the GODBOX Tracking Blox proved itself capable of keeping the LED image up to speed with the camera operators movement. Following posts will go more deeply into these on-set tests. The price of the GODBOX Tracking Blox integration is based on your studio or productions specific 3D tracking needs. For more information on the GODBOX Tracking BLOX integration, please email [email protected].