Technical advice for screen and virtual production
As CTO of the Australian Film, Television and Radio School I led the technical, production and facilities teams through building one of the first LED volume stages at any film school. The brief was nine months and a fixed budget, and we opened on both. I stood in the dark and watched students light a scene inside a world that used to need a backlot and a fortune.
Two advisory slots open. Sydney, working anywhere.
How this works
Audits & rescues
A fixed piece of work on a specific problem - a platform that keeps falling over, a rebuild that has stalled, a team that has lost its only architect. I get it stable, document it, and hand it back with a plan.
Advisory retainer
A standing slot in my week for a founder or an executive team - architecture reviews, hiring decisions, vendor negotiations, board papers, and the phone call at two in the morning when something is on fire. I only keep a few of these going at once, so each one gets proper attention.
I’m CEO of Production City while its funding round closes. That was when virtual production stopped being an interesting technology and became the next decade for me. It can take the tools that only ever belonged to the big studios and put them in the hands of anyone with a story worth telling. Production City is where I’m building that at full scale, and it’s the biggest thing I’ve taken on. It isn’t one stage - it’s a campus in development, planned for seven locations around the world, and it covers the whole problem: the land, the design and construction, the sound stages, the LED volumes, the broadcast theatres, and the film and television deals that keep them busy. The build is measured in years, and it’s already underway. As CTO of the Australian Film, Television and Radio School (AFTRS, 2021–2022), that LED volume was the one I built.
Read the full story at the home page — Screen — Building & advising, or every way to engage on the advice page.
If this fits, write totroy@troykelly.com.