Filmmakers can now combine green screen and projection elements without visual artifacts using specialized LED lights that switch at microsecond intervals. This hybrid approach aims to solve persistent production challenges with both techniques.

Read the full white paper: Sub-Frame Virtual Production With Synchronized Lighting Systems And High Frame Rate Laser Projectors

Synchronization Solved

Ramiro Montes De Oca, the researcher behind this method, demonstrated how Kino Flo MIMIK lights running at 240 frames can alternate between lighting states without visible flicker.

The MIMIKs operate at an impressive 30,000 hertz, with each sub-frame lasting just 1.12 milliseconds. By precisely controlling when lights activate, the system allows projectors to achieve maximum brightness during their display phase while providing optimal lighting for green screen elements in alternating frames.

"Any production right now is doing green screen, no matter what. Even if they're doing LED screen, they ended up doing rotoscoping at the end of the day. So why not having both?" explains Ramiro.

Metadata Magic: How timing delays disappear in post

The system records detailed metadata during shoots, enabling post-production teams to eliminate any timing discrepancies down to the microsecond level. This precise synchronization solves common camera tracking delays that plague traditional virtual production.

Ramiro explains that "the difference always you're gonna offset later. Camera tracking, render. Everything is gonna go blend together."

The SMPTE 2110 protocol drives the system's ability to maintain perfect synchronization, with what Ramiro describes as "Delta times where it's perfect to the micron."

Behind the Panels: The technical requirements evolving

Currently, the system requires Kino Flo MIMIK lights exclusively, as their LED panel construction enables the high-frequency switching necessary for the effect.

• The lights turn off during projection phases to maximize brightness

• Green screen appears clean and evenly lit during its dedicated sub-frame

• Image-based lighting (IBL) can be precisely controlled between phases

When asked about using other lighting instruments, the development team confirmed they're working to expand compatibility: "The short answer is no. The long answer is we're moving forward this kind of technology to do all the other lights."

Lighting the Path Forward: How sub-frame techniques may transform production workflows

This technology represents a significant step toward solving the persistent compromise between in-camera VFX and post-production flexibility. By capturing both clean green screen and projected reference elements in the same shot, productions gain unprecedented control over final compositing decisions.

The approach acknowledges the reality that most virtual productions still require extensive rotoscoping regardless of on-set technology. Rather than forcing filmmakers to choose between techniques, the sub-frame method embraces the benefits of both pipelines simultaneously.