After exploring ARRI’s high-end camera technology and before looking at Samsung’s LED backbone, the step in our look at turnkey corporate studios leads us to the software layer. That’s where Realtime Department steps in.

DP: When you talk about your “special sauce” for the system, where does your work begin, and where do ARRI and Samsung take over?
Christoph Gockel: ARRI and Samsung provide the technical foundation: cameras, image quality, LED technology. Our part starts where interactivity, usability, and content management come in. Our job is to bridge these systems and make them accessible so that clients can execute complex shows and productions without needing an operator behind the scenes.

DP: How much can users brand, theme, or “own” the look and feel of their studio environment?
Christoph Gockel: Quite extensively. Colors, fonts, logos, and icons can be centrally customized in UNIQVUE’s style system. An entire studio operation can be switched into a client’s corporate design at the press of a button. This makes every production look individual without having to rebuild everything from scratch.

DP: If a client decided to skip your layer and just use the base ARRI & Samsung setup, what’s the most obvious feature or workflow they’d miss out on?
Christoph Gockel: They would miss the bridge between technology and application. Without UNIQVUE, the studio would be technically excellent but still cumbersome to operate. UNIQVUE acts as a content platform: it can turn a simple line of text into professional motion design, without the need for designers or operators. Otherwise, clients would have to rely on external operators instead of quickly and flexibly building scenarios themselves.

DP: You use UNIQVUE as a central element. Can you explain its role without falling into “ecosystem” jargon?
Christoph Gockel: At its core, UNIQVUE is a show and workflow manager on top of a high end real time renderer. It provides an agenda, stage layouts in the right formats, and modules for content – from videos and live feeds to browsers and interactive workshops. Everything can be combined via drag & drop. At the end of the day, users run their production through a touch or web interface.

DP: How do software updates roll out: quietly or with fireworks?
Christoph Gockel: A UNIQVUE license is perpetual – you can use it as long as you want. We offer optional maintenance packages because UNIQVUE is developed with a long-term perspective. We support integrators and clients continuously, without putting them under pressure through forced version upgrades.

DP: What level of customization and ongoing support do you offer once the system’s live?
Christoph Gockel: We never leave clients on their own. There’s onboarding, remote support, and if needed, custom extensions. Many companies start with a standard package and gradually expand – our role is to accompany them along that journey.

DP: Let’s walk through the setup process in real terms, what actually happens from the moment the crates arrive to the moment the first image lights up the wall?
Christoph Gockel: First comes the classic studio and set construction, the hardware side. Once the interplay of lights, LED walls, and cameras is calibrated, those configuration datasets are imported into UNIQVUE. From there, you’re essentially ready to go.

DP: How much of the setup can be prepared remotely before anyone touches a cable?
Christoph Gockel: Quite a lot – from uploading corporate identity elements and content to defining agenda structures and standard layouts. By the time the hardware is physically installed, many templates are already ready to use.

DP: How does UNIQVUE talk to the LED wall and the ARRI camera? Are we working with standard protocols or custom integrations?
Christoph Gockel: Of course, all systems (LED wall, Camera and UNIQVUE) are Genlocked to be in sync. Once sync is done we provide frame alternating test patterns to get playout and camera in phase. After that the color calibration is done.

DP: Once it’s running, how do users typically interact with the system? Through a single interface, or multiple layers depending on their role?
Christoph Gockel: Everything revolves around a central interface, the Manager. Depending on their role, users see a reduced or extended view. That sets clear boundaries while keeping the available tools visible. Creating a new show sequence takes just a few drag & drop steps. Templates and style definitions are handled by power users, while editors simply apply them. The system is designed so that one person can operate it during a live show. Moderators can even run shows directly from a tablet or smartphone.

DP: How long does it usually take from “power on” in the morning to “first frame ready” for a shoot or event?
Christoph Gockel: Usually just a few minutes – power it on, let the system boot and preload the session content, and the first show sequence is ready. Even if last-minute corporate design changes come in, adjustments rarely take more than 15 minutes.

DP: How do you train first-timers for those “why is it upside down?” moments?
Christoph Gockel:  We provide structured onboarding with clear presets and example scenarios. Many users are capable of setting up their own shows within just a few hours. No thick manual required – though there is an online manual accessible directly from the Manager interface.

DP: What are the most common tweaks or adjustments people make once they see the live image?
Christoph Gockel: Timing cues are the classic one. Text corrections or color adjustments are also frequent. Thanks to the real-time engine, such tweaks can be made dynamically without interrupting the show.

DP: If a client wants to scale up (say, add more walls, more cameras, or something like integrating remote live performers), what’s the process?
Christoph Gockel: Very flexible. New stage presets, camera setups, or lighting configurations can be added within UNIQVUE. Thanks to the modular architecture, scaling can be done step by step without starting over.

DP: Given your background in AV and events, what’s the easiest “eventification” upgrade you can offer?
Christoph Gockel:  We can quickly expand a studio into a hybrid event stage – adding tools for panel discussions, audience interaction, or embedding typical event set elements. Thanks to UNIQVUE’s modularity, this transition is straightforward.

DP: Is UNIQVUE already a hybrid event tool under the hood, or is that on the roadmap?
Christoph Gockel: It has been from the very beginning. UNIQVUE was originally developed as an operating system for Showrooms and Experience Centers. Many modules are inherently interactive and collaboration-driven. As hybrid formats became more in demand in this area, it was almost a natural transition into studio use. The opposite direction also works – turning a studio into an event platform is straightforward.

DP: What’s the “panic button” moment in setup where clients call you in a cold sweat?
Christoph Gockel: It’s usually when something worked the day before but suddenly doesn’t right before a live session – often due to last-minute changes in brand assets or network settings. With a disaster recovery plan, a solid backup strategy and remote support, we can usually solve these issues quickly.

DP: What’s the wildest client request you’ve ever entertained?
Christoph Gockel: Playing out 30 megapixels 60 times a second across 3 LED walls including one wall segmented into 28 tiles and a continuous ring all from a single workstation was a nice challenge. There have also been some extensive customization requests mostly to integrate customer workflows into UNIQVUE. Most of the time it comes with an NDA so we can’t really tell many details about it. But we have digitalized whole finance calculation workshops or integrated the frontend of a video conferencing system into UNIQVUE. 

DP: Can power users extend the system themselves through scripting, APIs, or automation tools?
Christoph Gockel: Yes. For daily operations, power users can create new templates, styles, or input sources. On top of that, our APIs and automation interfaces allow even more customization. UNIQVUE is well suited for users who want to tailor their pipelines.

DP: Does UNIQVUE support standard tracking protocols out of the box, or do clients need extra middleware?
Christoph Gockel: For Camera tracking we can support FreeD, Ncam, Mo-sys, Stype and Trackmen/Pixotope. Other systems can be integrated, though often project-specific adjustments are needed. We provide the hooks to make sure clients aren’t locked out by missing middleware. For object- or people-tracking there we support anything that arrives via OSC, Websocket, mqtt or raw tcp/upd. Most of the device APIs provide either of these connections.

DP: Is the current setup already capable of handling VP workflows under the hood, or would you need to re-architect parts of it?
Christoph Gockel: UNIQVUE and the Corporate Studio Bundle are primarily optimized for corporate studio workflows, not VP. But the rendering and integration capacities – like Unreal scene rendering – are already technically feasible. With additional tracking and resource allocation, VP workflows can be built on this foundation.

DP: If budget and partner politics disappeared tomorrow, what’s the one upgrade you’d implement immediately?
Christoph Gockel: A fully AI-driven studio where content, stage designs, and even camera movements are dynamically created in real time, steered by a voice assistant. That would blur the boundaries between live staging and virtual production once and for all. Just between us, we’re already working on parts of it ;)

The post Realtime Department’s UNIQVUE: The Software Layer Behind Turnkey Corporate Studios first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

ARRI is packaging LED-production into a complete, installable studio system. The company’s new turnkey stage integrates LED walls, ALEXA 35, lighting, audio, server infrastructure, and monitoring into a pre-planned bundle. The idea is simple: production teams get predictable, repeatable results without having to assemble a patchwork of components. And together with Samsungs “The Wall” and the Realtime Department, you get everything in one tight package. But let’s look further.

The offering grew out of a familiar problem. High-quality LED workflows are more complex than they appear. Fragmented solutions risk mismatched colour, camera artefacts, or unstable pipelines. The answer is to deliver planning, consulting, and tested system design as one product, reducing the risk of incompatibility.

ARRI and Samsung will present the turnkey LED studio at IBC 2025 (Amsterdam, RAI, Hall 2, 2.B08), where visitors can join interactive demos, explore new content concepts, and experience virtual production workflows live on site. André Rittner will be available at the Samsung booth to discuss all things at the stage!

DP: André, how did ARRI first get involved in building turnkey virtual production stage?

André Rittner: ARRI first became involved in building turnkey virtual production stages when it became clear that achieving high-quality results requires more than just installing an LED wall. While virtual production and AI-generated content may appear simple, the underlying workflows are highly complex. To produce reliable, output, the interplay between hardware, software, colour science, and camera systems must be perfectly aligned.

The risk of investing in fragmented or incompatible solutions is considerable. This is why ARRI developed a turnkey approach, combining consulting, planning, and tested system design. The Corporate LED Bundle was created to streamline setup and reduce operational complexity and costs, together with our partners Samsung and Realtime Department.

The concept can be compared to driving a car: the user benefits from the performance without having to design the engine. ARRI integrates all relevant components into a complete system, delivering predictable results in a repeatable process.

Our initial focus was on simplified studio environments for corporate and communication productions, where advanced functions such as real-time tracking were not essential. At the same time, the architecture remains modular, so that clients can scale the system into a fully equipped Virtual 3D Studio when and if required.

DP: The ALEXA 35 is the standard camera for the Turnkey Stage. Why was this model chosen over others in the ARRI lineup?

André Rittner: A more accessible ALEXA 35 Base model is available, and it offers accurate colour management just as the Premium. This is essential for high-quality production, as LED panels operate using RGB light, and our eyes can immediately detect the difference between RGB and natural daylight in a direct comparison.

When this difference is noticeable, it often gives the impression that something is off, making the product or content appear less professional. Any ARRI camera can be integrated; the only crucial factor is ensuring that the camera is calibrated to match the LED colour values.

DP: What’s actually included in the ARRI box?

André Rittner: The idea of a “box” is quite literal, although in practice it refers to the customer’s own space where everything is installed. Much like a car that can be customized, this “box” can be tailored to individual requirements. The standard configuration includes an LED wall (approx. 2.70m x 4.80m), a camera, lighting, a server system for playback and colour management, audio equipment, a control monitor, a recording device, and all necessary accessories.

The centrepiece is the server, which functions as a self-contained control hub. It allows users to automate workflows or manage multiple processes at the push of a button. From this foundation, the system can be scaled or expanded to virtually any size. But that is something Realtime Department will tell you all about! (Story upcoming)

DP: Is a viewfinder part of the standard package, or is everything controlled remotely?

André Rittner: Yes, a camera viewfinder is included. It’s important that all components remain usable for traditional production as well.

The unique advantage of this solution is that the server software can also control the camera and lighting. Unlike consumer devices, film cameras require precise operation. And the server enables that precision while making independent or even single-person operation possible. For example, it helps eliminate issues such as moiré.

DP: Let’s talk about audio: How is sound handled within the Turnkey Stage setup? 

André Rittner: Audio recording is also managed via the server, supported by dedicated hardware. In a studio environment, direct sound and microphones play a crucial role. Directional room microphones reduce the need for complex cabling and manual leveling. At the same time, professionals retain full control and flexibility, while the system also supports simplified, semi-automated operation.

DP: What’s the setup process like for a user? Is it truly plug-and-play, or will I need a crash course in ARRI engineering before getting started?

André Rittner: It’s not a Lego kit that can be assembled ad hoc. Proper installation and integration into a space is done by system integrators. During commissioning, the system is explained and workflows can be demonstrated. Users who invest in such a studio usually already have film experience and understand the complexity involved.

Our solution ensures interaction between components and makes operations as simple as possible. For straightforward use cases, processes can be reduced to one-touch operation. For more demanding productions, however, a team will still be required. The system is therefore both professional-grade and flexible, enabling in-house productions such as commercials or even entire film sequences.

DP: Calibration is never a one-and-done deal—displays drift over time. Is periodic recalibration necessary?

André Rittner: Calibration can be carried out independently or even automated, with minimal effort required. And while it’s true that LED panels age, their expected lifespan is typically 8 to 12 years.

André Rittner: The system is not proprietary or closed. Users can freely adjust configurations and adapt to future requirements. This openness is key for long-term flexibility.

DP: What storage options are included in the system? Does the package come with Codex, SSDs, or any other dedicated media, or is that up to the end user? What export formats are supported?

André Rittner: The system includes a Codex card as standard, but that can be customized, including all camera and color settings. Recording can be done directly in-camera or via an external recorder. Supported formats include 12G-SDI ProRes 4444, DNx, and H.264 in SD/HD, among others. Export options can also be adapted to customer requirements.

DP: How do external triggers work in this setup—can I control lighting, playback, camera, or stage cues via standard protocols (DMX, MIDI, OSC, etc.), and how open is the system for custom integrations?

André Rittner: Yes. Since the server software was developed with flexibility in mind by a German partner Realtime Department, virtually any protocol or integration is possible. This interoperability is a major advantage of the tightly integrated camera, lighting, and LED system. The goal was to provide a software backbone that adapts to customer workflows rather than forcing a fixed structure.

DP: How many people can comfortably work or perform inside the Turnkey Stage? Is it strictly “one-man-band,” or is there space for a team or ensemble?

André Rittner: With the right planning, the stage can support solo operation or full team productions – the configuration is entirely customer-driven. During the planning phase, the LED and studio size can be designed to fit the production needs. Once installed, the setup is less flexible, as LED cabinets age in place. For this reason, proper consultation is crucial, both to maximize the investment and to avoid unnecessary costs.

DP: Looking back: What were the most challenging trade-offs between simplicity for new users and flexibility for pros? Any tough calls or “wish we could have done it sooner” moments?

André Rittner: A very good question. Our philosophy is to start with the smallest viable package. With the exception of the LED wall, everything can be flexibly expanded as needed. Tracking, for example, is powerful but can quickly require 1–5 operators per setup. That shifts the workflow closer to high-end film productions. Anything is possible …

DP: What’s your favorite hidden trick, hack, or pro tip for getting the most out of the Turnkey Stage?

André Rittner: Don’t overthink it, just start using the system. Most users are impressed by the quality and creative potential, which naturally drives inspiration and creativity. The key is to stay hands-on and let the technology spark both creativity and new ways of working.

The post ARRI Packs Virtual Production Into a Box first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Samsung’s Corporate LED Studio Bundle, launched with ARRI and Realtime Department, is not just another “all-in-one” video set. This is a tightly engineered system targeting the growing demand for high-quality corporate, hybrid, and virtual production. This package includes: Samsung’s The Wall LED, ARRI’s ALEXA 35 cinema camera, UNIQVUE automation as well as connection, workflow, and control paths mapped out for reliability, efficiency, and image integrity.

Why this solution?

But why? One use case for modern productions is the “corporate setting,” which, as every VFX artist who has ever worked for an agency can attest, are not naturally integrating compatible with broadcast and post pipelines. Many studios with the necessary technical and artistic chops capabilities aren’t bidding for these projects, and many corporations use out-of-date technology that delivers sub-par results. 

And this is where the turnkey solution comes in: The Corporate LED Studio Bundle is not a mere video “kit.” It’s a technical system—hardware, automation, and colour pipeline—built to deliver studio-grade content on demand. Without external less crew, rental fees, minimal preproduction and rehearsal, with g and Graphics and set assets handled digitally. Also, which is quite sad, no Crew Catering (We love crew catering). But let’s get into the pieces of this puzzle.

Who Provides What?

ARRI ALEXA 35: Supports the full ARRI colour pipeline, Genlock for LED synchronization, SDI and IP video outputs, advanced metadata for post, high dynamic range, and built-in LUT management for instant “look” application.

Samsung The Wall IVC: 12,288 Hz refresh, 384 fps, Micro LED, high contrast, no visible pixel grid, suitable for hybrid live/virtual sets, and minimal artifacting even at short shooting distances.

UNIQVUE: A modular and flexible digital framework that offers live show control, supports both remote and in-room operation, provides a template-driven interface for non-expert users, includes built-in corporate identity colours and graphic styles, and integrates a PowerPoint remote control directly within the show control interface.

Samsung The Wall IVC: Micro LED for the Studio Age

The Wall IVC is Samsung’s broadcast-optimized LED display, used as the visual anchor of the bundle. Its Micro LED panels deliver crisp, realistic visuals at a 12,288 Hz (No Typo: 12+ kHz.) refresh rate and support up to 384 frames per second. These numbers matter for close-up camera work, where traditional LED walls risk introducing flicker lines and artefacts. The Wall IVC simply does not.

The modular design lets the studio double as a boardroom, virtual stage, or traditional broadcast space. The Wall IVC integrates into room and media control systems, managed through UNIQVUE’s remote and automated control layer.

ARRI ALEXA 35: Too Much Camera? Maybe. But Also Just Right.

It’s fair to say that for classic boardroom use, an ARRI ALEXA 35 is “overkill.” This camera is a staple on high-end film sets and Oscar-nominated productions. But the inclusion is more than marketing. The ALEXA 35 brings a 4.6K Super 35 sensor, true 17 stops of dynamic range, and ARRI’s REVEAL Colour Science pipeline, allowing for precise colour matching, low noise, and accurate skin tones. This technical foundation is not just about bragging rights; it’s about keeping every pixel in sync across LED, virtual, and real sources.

ARRI’s colour science is critical in LED/virtual production, where even minor shifts can break immersion. The bundle includes native support for ARRI’s colour pipeline and full calibration routines to ensure LED wall output matches camera input—no “cheap” LED look, and no out-of-sync backgrounds. The robust connection options (Ethernet, SDI, full Genlock, advanced metadata pipelines) allow for direct integration with broadcast controllers, colour grading workstations, and automation triggers.

UNIQVUE: Automation and Workflow Orchestration

UNIQVUE, from Realtime Department, ties everything together and translates technical firepower into accessibility. This system sits at the nerve center of the studio, automating what would usually require a small control room staff. Through template-based production workflows, UNIQVUE offers presenters and producers the ability to drag & drop 3D Backgrounds and content modules and combine them to complex scenes, manage lighting and camera presets, and deploy graphics – often at the push of a single button.

The interface supports real-time show control, including a PowerPoint remote module, speaker notes, and even a stage timer, all available from a single control surface. For rooms with existing AV and media control infrastructure, UNIQVUE integrates easy with all main protocols, making adoption frictionless for facilities
teams. Its modular structure allows for reconfiguration between layouts and formats – one day as a boardroom, the next as a full training studio – without expert operators for most uses.

Concrete Application Examples

For organizations running high-frequency video, explainer, or hybrid events, the math is straightforward: higher output, lower spend, faster time to delivery.

• Product presentations and function demos: Presenters interact directly with content, reducing prep and making every session authentic—no separate voiceover or stand-in required.
• Town hall events: All participants—live and remote—see and interact with the same real-time content, with no need for dedicated technical crew or separate vision mixing.
• Marketing and explainer films: Digital backgrounds, props, and graphics can be swapped, updated, and reused, lowering costs and increasing flexibility.
• Training, internal communication, and PR: “What you see is what you get” production for internal teams, with drastically lower costs and faster turnaround.

Broadcast, But Smarter: Why the ALEXA 35 Matters Here

You probably have been thinking it all this time: The ARRI ALEXA 35 is a bit of an “overkill” choice for simple corporate broadcasting. Yet for virtual production, precise colour science and robust sync are not luxury add-ons, they are essential. The ALEXA 35’s connectivity (Genlock, SDI/IP, metadata, LUT support) is vital to keeping virtual and real elements in sync, colour-matched, and ready for both live broadcast and post workflows. It’s the difference between “looks okay on Zoom” and “ready for every frame.”

And That’s It?

Future articles will go deeper into colour pipeline management with ARRI, the practical realities of The Wall IVC installations, and case studies from the Realtime Department. Stay tuned!

The post Samsung Debuts Corporate LED Studio Bundle: ARRI ALEXA 35 Camera Included first appeared on DIGITAL PRODUCTION and was written by Bela Beier.