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Writer's pictureRob Chandler

Greg Shaw on Virtual Production in the Art Department

Updated: Nov 21


Speaker presenting in front of a large screen

In a talk that buzzed with insights and a hint of cinematic magic, Greg Shaw, a production designer and art director, shared his 25-year journey in film and TV design at Starting Pixel Live 24. Shaw’s session unfolded as a masterclass on blending traditional design with virtual production technology, transforming how creative visions are realized, from early-stage concepts to fully immersive sets.


Embracing VR and Real-Time Technology

Shaw’s adventure into real-time technology began almost a decade ago with VR, wielding one of the first Oculus headsets. This venture quickly revealed VR’s potential as a design and storytelling tool, enabling Shaw to iterate quickly and share immersive concepts with directors and producers, bridging communication gaps that static visuals often failed to overcome.


“Suddenly, you put someone inside VR, and they get it straight away,” Shaw reflected. With VR, Shaw could eliminate misunderstandings before construction, saving time, resources, and those last-minute frustrations where a set’s physical manifestation falls short of expectations.


Virtual Production: Not Just Another Tool

For Shaw, virtual production is not simply an additional step but an integral design process. Traditionally, art departments start with concept art, moving through sketches, CAD drawings, and physical builds. Shaw illustrated how real-time tools like Unreal and Twinmotion enable the art department to merge virtual and physical worlds seamlessly, utilizing familiar skills in new environments.


As an example, Shaw recalled work on the Apple series Foundation, using photogrammetry and drone scans of Iceland’s remote locations to digitally replicate environments. This allowed directors and crew to conduct virtual “recces,” setting lighting, positioning shots, and collaborating in virtual spaces long before ever stepping foot on location.


Real-Time Design for Real-Time Storytelling

Shaw spoke passionately about using Unreal Engine as an exploratory design tool, where he could simulate lighting, camera angles, and shot sequencing for detailed environments. It became a playground for envisioning complex sets. In True Detective, he recreated Alaskan-style towns in Iceland, laying out streets and buildings to scale, which allowed executives to envision the fictional world accurately. “It’s reassuring,” he explained, “knowing everyone is on the same page before construction.”


Further, Shaw discussed a more complex set design for HBO's True Detective, building tunnels that characters would navigate in the story’s climax. Instead of relying on traditional, static drawings, Shaw physically “walked through” the design in VR, adjusting layouts, refining dimensions, and ensuring the actors could move naturally in the space.


Tech-Viz and Asset Portability: The Future of Art Direction?

Shaw’s approach to set design bridges real and digital assets, optimizing them for various production needs. He discussed the “tech-viz” phase, where virtual tools provide detailed previews of practical effects. In one instance, Shaw used Unreal to plan fire effects on set, mapping out safety zones for crew in real-time and eliminating the risk of miscommunication.


These assets don’t just vanish after filming. Shaw emphasized how high-quality digital assets can evolve beyond production, expanding into marketing, XR experiences, and beyond, thus maximizing creative investment and reinforcing the longevity of the producer’s intellectual property.


Conclusion: Art Departments in Virtual Production

For Greg Shaw, the future is hybrid. Virtual tools are expanding art departments' creative capabilities, transforming early concepts into living, breathing worlds. In an industry often constrained by budgets, timelines, and sometimes impossible requests, Shaw’s methodology represents a more intelligent, efficient pathway to bringing visionary stories to life.


In Shaw’s words: “We’re no longer just building sets; we’re building experiences.” And it’s clear that in the hands of a designer like Shaw, those experiences are nothing short of cinematic magic.


Greg Shaw can be found here: www.depictedstudios.com


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