PIER59 STUDIOS

Fidelity

The campaign called for large retail environments that did not exist in the real world. Building them practically would have required extensive fabrication, significant budget allocation, and weeks of scenic construction.

Working within the Megaverse, PIER59 offered a more efficient solution.

The production designer treated the virtual environments as an extension of the physical set from the earliest stages of development. Material samples were shared directly with PIER59’s 3D artists to ensure accurate texture and color reproduction between physical and digital elements.

Using a complete digital twin of Stage C and MegaWall, the director and cinematographer were able to lens scenes virtually before load-in, determining precisely where practical construction met virtual extensions.

On set, entire environments could be rotated within Unreal Engine instead of relighting the stage, dramatically increasing efficiency while maintaining creative flexibility. The cinematographer and gaffer worked with real-time environmental lighting as though shooting on location, while post-production approvals took place live on set.

The result was a faster, more sustainable production workflow that leveraged some of the most advanced virtual production technology available on the East Coast.

Ralph Lauren Team USA

Olympic campaigns require content across film, social media, retail, and print, but athlete availability is often measured in hours rather than days.

To maximize efficiency, PIER59 developed a dual-stage workflow that paired the Megaverse with traditional campaign photography under one roof.

MegaWall, the LED ceiling, and mobile LED carts created immersive environments for motion capture and film content, while Stage 2 supported still photography with a high-resolution LED wall and traditional cyc environment.

A centralized operations team, shared styling resources, and coordinated creative leadership ensured visual consistency across every deliverable. By consolidating production into a single campus, the team eliminated additional location days while reducing the need for extensive post-production matching between motion and still assets.

The result was a complete Olympic campaign ecosystem produced within a single day, demonstrating the scalability and efficiency of the PIER59 production model.

Elsa Stallings x KLSR

The project sought to merge choreography, music, and motion design into a single emotional experience. Working within an independent production framework, the creative team required a venue capable of supporting ambitious visual storytelling without introducing unnecessary technical complexity.

Using the Megaverse and MegaWall, the production transformed Stage C into a responsive digital environment that became an active participant in the performance rather than a passive backdrop.

Music and visual content were developed first, allowing Elsa Stallings and KLSR to build choreography directly around the screen environment. Working alongside PIER59’s virtual production team, cinematographer Matt Hayes used the curved LED volume, side screens, and adjustable LED ceiling as integrated lighting and storytelling tools.

Captured at 48 frames per second with synchronized playback across the volume, the production maintained clean wall performance and flicker-free imagery throughout.

The final piece places classical movement inside one of the most advanced virtual production environments on the East Coast, demonstrating how performance art can benefit from technologies originally developed for cinema and commercial production.

Shiseido

The creative called for subtle, evolving gradients of light and reflection that would have been difficult to achieve consistently against green screen. Instead, PIER59 built both environments entirely within Unreal Engine and displayed them across MegaWall.

Using a full digital twin of Stage C, the team previsualized camera positions, environmental lighting, and creative compositions before arriving on set. Two unique worlds were designed, approved, and delivered in approximately two weeks.

On shoot day, the LED ceiling functioned as a tunable soft light source while side screens provided environment-driven fill and edge lighting. Anne Hathaway could be photographed within the final environment rather than against temporary placeholders, allowing Dentsu and the Shiseido team to evaluate finished imagery in real time.

By combining Unreal Engine, real-time rendering, and one of the most advanced virtual production environments on the East Coast, the production achieved greater creative control while significantly reducing post-production requirements.

Redbull

PIER59 gave Muller a studio built for speed and control. The space supported quick changes between setups, so Muller could shift from look to look without losing the day’s momentum. The result balanced editorial polish with Vonn’s athletic presence. The images ran as the cover and feature for The Red Bulletin’s December issue, pairing striking photography with Vonn’s story of injury, recovery, and return to competition.

Royal Caribbean

For Royal Caribbean’s global brand presentation, each studio was designed to evoke a different destination from the guest journey, transforming the PIER59 campus into a series of immersive cruise-inspired environments.

At the center of the experience was the Megaverse and MegaWall, allowing presentation content, motion graphics, and environmental visuals to become part of the physical architecture of the event. Scenic design, media playback, lighting, audio, and broadcast systems operated as a single integrated production ecosystem.

Behind the scenes, PIER59 provided the infrastructure required to support both the live audience and simultaneous online viewers, including power distribution, rigging, networking, media servers, and broadcast integration.

Chelsea Piers’ unique loading access and campus footprint enabled large-scale scenic builds across multiple studios without the complexity and cost often associated with temporary event venues. The result was a seamless global presentation that transformed a corporate event into an immersive brand experience.

Louis Vuitton – La Beauté

The campaign required rich, color-driven environments inspired by the product palette, complete 360-degree coverage, and a dynamic moving sun. Traditionally, a production of this complexity would have relied heavily on CG and post-production.

Instead, PIER59 leveraged the Megaverse and MegaWall to make virtual production the primary creative tool.

Four bespoke Unreal Engine environments were developed and stitched together into a continuous 360-degree world surrounding the talent. As the turntable rotated, lighting, reflections, and shadows updated in real time, preserving continuity throughout the shoot.

Practical sand was color-matched to the virtual landscapes while a live grading pipeline ensured seamless integration between physical and digital elements. The result was approximately 80 percent final color achieved in camera, dramatically reducing post-production timelines while eliminating the need for large-scale disposable scenic construction.

The project demonstrated how one of North America’s most advanced virtual production stages can support luxury campaigns at the highest level.

Kore.ai

Hosted inside the Megaverse, the event transformed MegaWall into a dynamic environment that evolved throughout the day.

The LED content shifted seamlessly between keynote presentations, product demonstrations, and networking sessions, allowing the room itself to respond to the rhythm of the event. Rather than serving as a traditional presentation backdrop, the environment became part of the storytelling.

Built on the same infrastructure used for feature films, commercial campaigns, and virtual productions, the experience demonstrated how event production can benefit from the same technology powering today’s most advanced content creation workflows. The result was a fully branded environment that felt uniquely Kore.ai while showcasing how virtual production can shape not only what appears on screen, but how a room feels.

Vogue – September Issue

We had the incredible opportunity to collaborate with Blake Lively, Hugh Jackman, and the visionary director Baz Luhrmann. In this video, we dive into the innovative strategies employed by our virtual production team, highlighting the cutting-edge techniques that brought this extraordinary stills project to life. From pre-pro to camera wrap, discover how we pushed the boundaries of creativity and technology. This project showcases how Virtual Production is not only suitable for motion but also for top-tier still campaigns.

Tom Ford

This Tom Ford campaign was shot using our 65” main LED wall as a dynamic reflection tool, perfectly suited for showcasing ski goggles and sunglasses. By utilizing the LED wall’s realistic reflections, the creative team achieved stunning visuals in-camera, capturing the intricate details and depth of each reflection without the need for added visual effects in post-production. This innovative approach not only saved significant time and resources but also ensured a high-quality, polished result straight out of the shoot. The campaign benefited from a more efficient workflow while delivering visually striking, authentic imagery that enhances the luxurious appeal of Tom Ford’s products.