To Green Screen or Not to Green Screen? That Is the Wrong Question.

In the world of filmmaking and content creation, it’s easy to get caught up in the debates: Is green screen outdated? Are LED volumes the only future? Will virtual production replace practical effects entirely? In this blog, iMAG’s Creative & Development Director Stephen Maddox explores why the smartest productions don’t choose between green screen or LED — they use both, blending tools to serve the story and deliver the best creative results.

Filmmakers and content creators today face no shortage of strong opinions:
“Green screen is dead.”
“LED is the only way forward.”
“Virtual production is replacing practical effects.”

But these conversations often miss the point.

Why It’s Not About Sides, It’s About Solutions

At iMAG, we believe it’s not about choosing sides, it’s about choosing the right tools for the story you’re telling. On one of our recent projects, we used our LED volume for 90% of the shoot. But for the remaining 10%, we dropped in a green screen section precisely where the camera was aimed, allowing the post team the flexibility to dial in later the content yet captured. The rest of the volume still played plate content in-camera to light the scene authentically.

On another project, we repurposed the LED wall to act as:

A translite replacement for background depth,
A green screen surface for keyed inserts, and
A platform for in-camera VFX, all in one setup.

By doing so, we avoided hauling in a truckload of fabric, lighting rigs, or set paint.

In a third case, we simply built a green screen opposite the LED volume so the team could move seamlessly between both environments and maximise every shooting hour.

It’s Not One Size Fits All: Adapting to Actors, Crews, and Environments

Some actors dislike acting in an empty green box. Others get motion-sick in an LED volume with Ghost Frame or Frame Remapping. Some crews are experts at traditional compositing, while others thrive in Unreal Engine environments. These are not reasons to reject one technology over another. They’re reasons to plan smarter, and mix methods intentionally. Filmmaking isn’t about forcing every scene through the same process—it’s about staying agile, creative, and technically aware.

In The West Wing, President Bartlet once said, “The trick isn't picking the right lever… It's using all of them.” The same applies to production. It’s not a matter of green screen or LED or pick your production process. The best work comes when we approach each scene with a full toolkit and the wisdom to know which lever to pull. At iMAG, we see green screen, LED volumes, virtual environments, practical sets, and physical builds as complementary, not competing. Wouldn’t you want to go into your next project with a full toolbox instead of empty-handed?

Final Thought: Ask the Better Question

The real question isn’t, “Which tool is best?” (My favourite question from The Office, “Which bear is best?”) The better question: What does this story need? What does this moment demand? How do we bring it to life—visually, emotionally, and efficiently? When we stop picking sides and start picking solutions, the work gets better. And that’s what matters most.

Find out more about iMAG's virtual production solutions here.

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Why Not All Projection Mapping Quotes Are Created Equal

October 7, 2026

If you’re planning a projection mapping project and have approached several suppliers for costs, you may find yourself looking at quotes that vary considerably. One supplier might recommend a certain number of projectors, another might specify twice as many, and the difference in cost can be significant. On paper, however, both proposals might appear to offer exactly the same thing: projection mapping a building. So, what are you actually comparing? The reality is that not all projection mapping quotes are created equal . Two technical proposals can promise to cover the same building with the same content, yet deliver very different results when the show goes live. And when the whole reason for investing in projection mapping is to create impact, attract attention and make people stop and look, the quality of that final result really matters. Our expert Graymatter Video team approach projection mapping by working backwards from the experience we want the audience to have. Rather than asking simply whether we can put an image onto a particular surface, we look at what is required to make that image bright, clear and impactful in the real-world environment. That distinction can make all the difference. What Makes Great Projection Mapping? At its best, projection mapping has an extraordinary ability to transform a familiar space. Architecture can appear to move, disappear or change shape. A historic façade can become part of an animated story. A landmark building can be transformed into a huge canvas for a brand activation. The technology behind those experiences should almost disappear. The audience shouldn't be thinking about projector quantities, lenses, media servers or light levels. They should simply be experiencing the creative. But making something look effortless can require a significant amount of technical planning behind the scenes. For the illusion to work, the projection needs enough brightness, clarity and consistency to work with the building and compete with the surrounding environment. If the image is too faint or lacks contrast, even exceptional content can lose its impact. That is why a good projection mapping system starts with understanding the location and the creative ambition, rather than simply selecting a projector. Why Brightness Matters in Projection Mapping One of the most important considerations in any projection mapping project is brightness. At Graymatter Video, one of the key measurements we use when designing a projection system is brightness, which we measure in lux. Put simply, lux helps us understand how much light is actually reaching the surface we are projecting onto. This is important because projector specifications alone don't tell the whole story. A projector may have an impressive lumen output, but the audience isn't standing inside the projector reading its specification sheet. They're looking at a building, sometimes from hundreds of metres away, surrounded by other sources of light. The characteristics of that building can have a huge effect on the finished image. A relatively smooth, light-coloured surface will behave very differently from dark brick, stone or highly textured architecture. The size of the façade, distance between the projectors and building, projection angle and available projector positions all influence the eventual result. Then there is the surrounding environment. Streetlights, architectural lighting, illuminated signage and neighbouring buildings can all compete with the projected image. Even the time of year and the location itself can influence how a system needs to be designed.All of these factors help determine how much projection power is actually required.

Malcom Hall Joins iMAG as Technical Asset Manager

By Frederick King • October 1, 2026

iMAG welcomes Malcolm Hall as Technical Asset Manager, bringing 30 years of AV and video experience to its growing technical team in Poole.

iMAG Shortlisted for Best Event Support Services Provider at the C&IT Awards 2026

August 4, 2026

We're thrilled to be shortlisted for the C&IT Awards 2026 in the Best Event Support Services Provider category, recognising excellence in live event delivery.

iMAG Appoints David Barton as Operations Manager to Support Next Phase of Growth

June 29, 2026

As iMAG continues to grow, we're investing in the people who will help us deliver even more for our clients. We're delighted to welcome David Barton to the team as our new Operations Manager. David brings almost two decades of experience from Encore, where he most recently served as Head of Video , UK. Throughout his career, he has built a reputation for technical expertise, operational excellence and leading high-performing teams, making him a perfect fit for the next chapter of iMAG's journey. At iMAG, we've built our reputation on delivering outstanding technical solutions for live events, brand activations, projection mapping, virtual production and immersive experiences. As demand for our services continues to grow, we're focused on strengthening the operational foundations that allow us to scale while maintaining the responsive, personal service our clients value. David will oversee operations across both iMAG and our specialist video control division, Graymatter Video, helping to refine the systems, logistics and processes that support every project from planning through to delivery. Managing Director Alex Strachan explains: "David has experienced every stage of our industry, from warehouse floors and on-site delivery through to leading a major video team. As we grow, we're investing in the people and processes that let us scale without losing what makes us different. David understood that immediately, and we're excited about the impact he will have." For David, joining iMAG was about more than the projects. "What attracted me to iMAG wasn't just the work, it was the people. I've known the team for many years as a client, and what stands out is their relentless focus on the client and their commitment to exceptional delivery on every project, however demanding. I'm looking forward to strengthening the operational foundations that allow the team to keep delivering at that level while protecting what makes iMAG special." David's appointment marks another important step in iMAG's continued growth. By investing in experienced leadership and robust operational processes, we're ensuring we can continue delivering innovative video solutions while maintaining the flexibility, creativity and attention to detail that our clients expect. We're excited to have David on board and look forward to what we'll achieve together.