“Sim-Plates and their team was fantastic. They graded the footage to reflect a different time of day and delivered multiple versions with varying headlight spread on the road and trees—giving us total creative flexibility. It’s a faster, more flexible, and more sustainable way to shoot, and it’s changing the game in modern filmmaking.”

Chris Mosson – DP

“I can’t see a world in which we would have gotten nearly as valuable material shooting process trailer on location. Being able to stand at a monitor just feet away from the scene instead of being crushed into the back seat of a moving vehicle, not needing to wait for long resets… it all allowed us to focus on the most important things and really work with our talent to tell the story. The next time I need to shoot car process, I’m talking to Sim-Plates.”

Michael Langan – Director

“Working with Sim-Plates has been a smooth and impressive experience for Trilogy Studios. One of the standout advantages of their plates is the seamless loop-ability. Being able to run extended driving scenes without worrying about resets has been a huge win on our car stage. On top of that, their efficient transcoding pipeline and incredibly fast render and delivery times make a real difference in real-life production schedules, especially in virtual production where turnaround speed is critical.”

Hunter Bartley – Director of Virtual Production at Trilogy Studios

“From the start, the team took the time to truly understand the creative and technical requirements. Their attention to detail in pre-production gave me complete confidence that the virtual backgrounds would translate seamlessly onto the LED volume wall. They even coordinated directly with the volume stage to ensure everything integrated smoothly on shoot day — a level of collaboration that made a real difference.”

Andy Genovese – Director & Producer

“Sim-Plates is a gamechanger for car process with LED volumes. Our biggest challenge is always having good looking 360-degree plates rapidly and cost-effectively. Sim-Plates bridges that gap with CG plates that look great, are perfectly stable and stitched and look highly realistic on camera.”

Noah Kadner – Virtual Production Editor at American Cinematographer Magazine