Virtual Prelight: Using Unreal Engine to Light a Studio Shoot for James Hoffmann
For a shoot last year with YouTuber and coffee expert James Hoffmann, I had the opportunity to use Unreal Engine not just for previs, but for something a little less common — a full virtual prelight. And not just for look development — we took the same Blackout project file we used in Unreal into the studio on prelight day and used it to build the actual lighting cues on set.
The Project
Top to bottom: tech vis, previs, and the final video. Theres a cut part way through the tech and previs as a section was cut from the script during prep
James was creating an experimental one-take video for his YouTube channel — a 7.5-minute Steadicam shot in a white cyc studio, with a lot of moving elements: props and furniture entering and exiting frame, intricate blocking, and a monologue delivered direct to camera.
We had just two days in the studio — one for rigging and rehearsals (including a full prelight), and one for shooting. So time was tight. We had to get it right the first time.
I initially pitched Unreal Engine as a way to help us plan the choreography and camera path. But as the project developed, it became clear it could do more — a lot more.
Building the Virtual Studio
Because we were working in a professional studio with a CAD plan available online, I was able to build a 1:1 virtual version of the space quickly and accurately. The lighting rig was mostly made up of ARRI SkyPanels — both in the grid and on the floor — so I created digital doubles of those in Unreal, with fairly accurate photometric data.
We also had a few Tungsten fixtures and smaller units, which I mocked up with estimated output and spread. It wasn’t perfect, but it was close enough to start roughing in the lighting cues.
Why Virtual Prelight?
My main motivation was time. With such a short window for rigging and rehearsals, I wanted to arrive on prelight day with something more than just a plan — I wanted a working version of the lighting cues ready to go.
At home, I used ArtNet to connect Unreal to Blackout, the iPad-based lighting desk we’d be using in the studio. That meant I could program the first lighting pass in advance — syncing it to the camera path and action in the previs — and then export that as a show file.
Once we were on set, we ran the same file using a DMX control box (the Lumen Radio Aurora), and it just worked.
We easily saved two or three hours on prelight — time we were later able to use to finesse and improve the lighting setup, without running into overtime.
Why It Helped
Aside from the time savings, this workflow offered a few major advantages:
Creative Confidence: We could test ideas in advance and make sure they worked.
Clear Communication: Art department, lighting team, camera, and even James (who was performing and directing) could all see the plan in 3D.
Less Stress on Set: James had a huge amount on his plate, so removing uncertainty in advance was a massive help.
This wasn’t just previs — it was a working lighting design tool.
Would I Do It Again?
Absolutely. And I have.
The tools are only getting better. Manufacturers are starting to release digital doubles of their lights, cameras, and lenses — and there are already prebuilt DMX libraries available for Unreal. Connecting control surfaces like Blackout or GrandMA is easier than ever.
If you’re working on a time-sensitive studio shoot — especially one with complex cues — this workflow is a huge unlock.