Television City, the storied Los Angeles production facility that has housed everything from "I Love Lucy" to "The Mary Tyler Moore Show," has entered the virtual production era. The landmark complex now hosts Orbital Studios, a technology company specializing in LED-wall filmmaking that has already contributed to Netflix's "Nemesis."
The partnership represents a watershed moment for the entertainment industry's shift toward virtual production methods. Rather than relying on traditional sets or location shooting, virtual production uses LED wall technology and real-time rendering to create immersive environments. Actors perform against massive screens displaying photorealistic backgrounds, allowing filmmakers to capture final imagery in-camera rather than adding effects in post-production.
Orbital Studios brings specific technical expertise to Television City's infrastructure. The company has already worked on high-profile projects, including the Netflix series "Nemesis," demonstrating its capacity to execute complex productions at scale. The installation of multiple LED walls throughout the historic complex transforms Television City into a state-of-the-art facility capable of competing with newer, purpose-built virtual production studios.
The move signals that legacy Hollywood real estate is adapting to technological change rather than becoming obsolete. Television City, which opened in 1952 and remains one of the largest television production facilities in the world, has continuously evolved to meet industry demands. This latest transformation keeps the venue relevant in an era when major streamers and studios increasingly favor virtual production for its efficiency, cost-effectiveness, and creative possibilities.
Virtual production has gained momentum over the past five years, accelerated partly by pandemic-related production challenges. Major studios including ILM and Industrial Light and Magic have invested heavily in the technology. Television City's embrace of Orbital Studios places the facility squarely in the current mainstream of production practice, ensuring it remains a destination for contemporary filmmakers rather than a relic of television's analog past.