What’s New at Cobalt

It’s been a busy stretch over here at Cobalt—in the best way possible. From feature films to pitches to game shows (yes, really), we’ve had our hands in a little bit of everything lately.
Here’s a peek at what we’ve been up to:

• Lights, camera… two features.
  We’ve been tapped to produce two feature films, and things are already off to a strong start. Both projects have had their budgets approved by NYS—bringing the combined total to $13.2 million. Not a bad way to kick things off. We’re excited to keep the momentum going as these move closer to production.



• Helping a great idea find its voice.
  We recently teamed up with a client preparing a pitch to Vox, jumping in to provide EFX consulting along the way. There’s something especially fun about being part of a project at this stage—helping shape the vision, fine-tune the details, and get everything ready for the spotlight.
• And now… a game show!
  We’ve also been asked to produce a game show, which is always a fun change of pace. We love working in unscripted formats and bringing high-energy projects like this to life. From development through production, it’s all about creating something that’s engaging, fast-moving, and fun to watch.

All in all, it’s been a season of variety—big projects, great collaborators, and plenty of exciting work in motion. Exactly the way we like it.
Got something in the works?
Let’s make it happen.

When people talk about a production’s “secret weapon,” they often picture something that happens on set.

A clever rig.
A last-minute solution.
Someone figuring out how to make a tricky shot work when the clock is ticking.

And while we enjoy those moments as much as anyone…

The truth is, the real advantage usually starts much earlier.

A lot of what determines whether a shoot runs smoothly happens during preparation.

It’s in the early conversations.
During the pitch.
In pre-production meetings when someone asks a deceptively simple question:

Should we shoot this practically or virtually?

That question alone can shape an entire production.

And it’s exactly the kind of conversation we love being part of.

Every project has its own creative goals, constraints, and opportunities.

Sometimes the best solution is building something practically.
Sometimes Virtual Production opens doors that would otherwise be impossible.
And sometimes the smartest approach lives somewhere in between.

Our role is to help productions think through those options early — before schedules tighten and decisions become harder to change.

Not to push a particular tool or technology, but to help find the approach that makes the most sense for the project.



Most of the Cobalt team comes from production backgrounds, so we tend to look at things the same way producers do.

They just quietly make things work.

How will this actually work on set?
What’s the most efficient way to execute it?
Is there a smarter workflow?

Those kinds of questions can make a huge difference once the cameras roll.

And answering them early often saves time, budget, and a few headaches down the line.

Yes, we have a stage.
Yes, we have a lot of interesting toys.

But one of the things we enjoy most is being part of the thinking process — helping producers and creatives explore different approaches and find the one that fits their idea best.

Sometimes that leads to a new technique.
Sometimes it confirms that the original plan is exactly right.

Either way, the goal is the same: make the production stronger before the shoot even begins.

If you’re developing a concept, building a pitch, or figuring out the best way to execute a complex shot, we’re always happy to talk through ideas.

Those early conversations often shape the entire production.

And when that happens, everything that follows tends to run a whole lot smoother.

Every production faces the same fundamental challenge: delivering exceptional creative while managing tight timelines, complex logistics, and high expectations. The difference between a stressful shoot and a successful one often comes down to the environment.

The right soundstage doesn’t just provide space — it becomes a partner in your production.

At Cobalt, preparation, technology, and hospitality come together to create an experience designed around one goal: helping your production run smoothly from the moment you arrive.

And when the pressure is on, that difference is everything.



When crews step onto a stage, the clock is already ticking. Searching for equipment, solving preventable problems, or coordinating last-minute support drains both time and budget.

That’s why preparation isn’t treated as a bonus — it’s foundational.

Extensive onsite resources, production-ready infrastructure, and built-in support systems allow teams to focus on what matters most: executing the creative. Instead of reacting to challenges, your stage anticipates them.

The result: fewer disruptions, faster setups, and a production that stays on schedule.

When your stage over-prepares, your team doesn’t have to.



Modern productions demand more than four walls and power. They require integrated solutions that simplify complexity.

A turnkey environment brings together stage space, advanced tools, production support, and knowledgeable staff into one cohesive ecosystem. Everything works together so your team can move efficiently from pre-light to final shot.

Capabilities such as motion control and virtual production workflows open the door to ambitious creative while keeping execution practical.

For producers balancing efficiency with innovation, having these resources centralized isn’t just convenient — it’s transformative.



Production is demanding work. Long days and constant problem-solving require energy, focus, and collaboration.

Thoughtfully designed spaces recognize that when people feel supported, creativity follows.

Comfort-forward amenities, wellness-inspired touches, and welcoming common areas help reduce stress and sustain momentum throughout the shoot day. Instead of working against the environment, your team is energized by it.

Clients often notice the shift immediately: the atmosphere feels calmer, collaboration becomes easier, and the work flows.

Clients often notice the shift immediately: the atmosphere feels calmer, collaboration becomes easier, and the work flows.



Every production needs room for big conversations and quiet decisions.

Flexible work areas keep departments connected, while private conference rooms provide space for approvals, strategy, and problem-solving without interruption. Intentional layout choices help teams stay organized and aligned even during fast-moving shoot days.

It’s the kind of design you may not think about beforehand — but once you experience it, you won’t want to work any other way.



Clear communication keeps productions moving. Modern infrastructure makes it effortless.

Networked viewing options, robust connectivity, advanced streaming capabilities, and thoughtfully designed video village setups allow creative leaders to monitor progress from anywhere on campus.

Feedback happens faster. Adjustments happen sooner. Momentum stays intact.

And in production, momentum is priceless.



The most memorable production environments share one common trait: they understand that service shapes the entire experience.

When your cast and crew feel welcomed, supported, and comfortable, the tone of the production changes. Stress lowers. Confidence rises. Creativity expands.

Hospitality isn’t separate from operational excellence — it strengthens it.

From the moment your team walks in, the goal is simple: make the stage feel like a home base where great work can happen.



There’s no substitute for real production expertise.
Studios grounded in decades of industry knowledge understand what teams need — often before the question is asked. They invest in technologies that push creative boundaries while building workflows that protect your schedule.
Most importantly, they recognize that every production carries momentum, and their role is to protect it.
When preparation meets experience, your production gains something invaluable: confidence.

Choosing the right soundstage is one of the most important decisions you’ll make during pre-production. The best way to understand what a fully supported production environment feels like is to experience it firsthand.

Walk the stages. Explore the amenities. Meet the team. Picture your next project unfolding in a space designed to support it at every step.

Schedule a tour and discover how the right environment can elevate your entire production.

Because when your stage is built to anticipate your needs, your team is free to focus on creating something exceptional.





When people think of Virtual Production, they often picture massive sci-fi franchises or fantasy epics built entirely inside LED volumes.

But Virtual Production today goes far beyond space battles and alien worlds. From intimate dramas to superhero reboots, filmmakers are using real-time rendering, LED walls, green/blue screens, and game-engine previsualization in ways most audiences never notice.

Here are some recent films that quietly used Virtual Production techniques — even if you didn’t realize it.

The latest iteration of Superman leverages modern Virtual Production techniques to bring high-altitude action and large-scale environments to life.

Flying sequences, cityscapes, and dynamic backgrounds were enhanced using LED volume stages, allowing actors to perform against real-time environments.

This provides:

• Interactive lighting
• Natural reflections
• More immersive performances
• Reduced post-production guesswork

Superhero films are increasingly blending practical sets with digital environments captured in-camera — and this film is part of that next wave.

While Dune: Part Two famously shot in real desert locations, it also embraced cutting-edge Virtual Production tools long before cameras rolled.

Using Unreal Engine and real-time 3D environments, the team built detailed digital versions of landscapes for:

• Previsualization
• Virtual location scouting
• Lighting studies
• Shot planning

Director Denis Villeneuve and cinematographer Greig Fraser were able to plan complex sequences in a virtual space before heading into extreme desert conditions.

This hybrid approach — combining practical filmmaking with real-time digital planning — shows how Virtual Production isn’t just about LED walls. It’s about smarter, more efficient storytelling pipelines.

Directed by Robert Zemeckis, Here takes a deeply emotional, time-spanning story and grounds it in a single location across decades.

To pull that off seamlessly, the production relied on advanced Virtual Production workflows and LED stage environments. Rather than constantly rebuilding physical sets to represent different eras, environments were digitally adjusted in real time — allowing lighting, backgrounds, and time periods to shift while keeping performances grounded on stage.

The result?

A visually fluid film where technology supports the storytelling without ever drawing attention to itself.

This is Virtual Production at its most invisible — and most powerful.

At first glance, Bullet Train looks like it was filmed across Japan at breakneck speed. In reality, much of the movie was shot on controlled sets enhanced by virtual production technology.

The production built detailed train car interiors on stage and surrounded them with massive LED screens displaying high-resolution, real-time environments. Instead of relying heavily on green screen, filmmakers captured dynamic landscapes in-camera — complete with interactive lighting and realistic reflections.

The result?

A fast-paced action film that feels grounded and kinetic, while benefiting from the flexibility and control of a Virtual Production workflow.

What these films show is that Virtual Production is no longer a niche technology.

It’s evolving into a standard part of modern filmmaking workflows:

• Real-time previs and virtual scouting
• In-camera VFX with LED volumes
• Hybrid practical + digital production pipelines
• Faster creative iteration on set

And most audiences won’t even realize it’s happening.

That’s the goal.

When we do Virtual Production right, it doesn’t feel digital. It feels cinematic.

From the earliest conversations through the final day of shooting, our approach is simple: listen first, build second, and support every creative decision along the way. Whether you’re a seasoned line producer balancing complex logistics, a filmmaker protecting a creative vision, or a major studio managing scale, our role is not to push a particular methodology. It’s to help you create the best possible shoot.

Because great production environments aren’t defined by rigid processes — they’re shaped by adaptability.



Listening Before Leading

Every project arrives with its own priorities: budget realities, technical demands, scheduling pressures, creative ambitions. Instead of steering clients toward a predetermined solution, we focus on understanding what success looks like for you.

Sometimes that means recommending virtual production on a green screen if it allows you to move faster, control your environment, and ultimately save money. Other times, the smartest path forward is rooted in traditional techniques — practical builds, in-camera effects, and time-tested methods that deliver exactly what you need without unnecessary complexity.

Our philosophy is straightforward: the right solution is the one that serves your production best.

Not ours.

Guidance Without Pressure

Choosing a soundstage often comes with an unspoken concern: will the facility try to fit our production into their workflow?

We see things differently.

Our responsibility is not to sell you on one way of working. It’s to provide clarity, honest guidance, and options that empower you to make the right decisions for your project.

If there’s a smarter way to allocate your budget, we’ll tell you.
If a simpler approach achieves the same result, we’ll recommend it.
If your idea requires something entirely custom, we’ll explore how to make it happen.

Freedom and choice are not luxuries in production — they’re necessities.

Built for Producers Who Value Partnership

Producers and filmmakers carry the weight of countless decisions. The right production partner should lighten that load, not add to it.

Our team approaches every project with a service mindset grounded in experience. We anticipate needs, communicate transparently, and remain responsive as priorities evolve. Whether you’re managing a tightly scheduled commercial shoot or orchestrating a large-scale production, our goal is to create an environment where your team can focus fully on the work.

When a soundstage operates seamlessly, creativity follows naturally.

A Production Home Designed Around Possibility

Upstate NY has become an increasingly attractive destination for production — offering space, accessibility, and a setting removed from the constant friction of denser production hubs. Within that landscape, we’ve worked intentionally to create more than just a place to shoot.

We’ve built a production home where adaptability is standard, collaboration is expected, and no creative ambition feels out of reach.

Because the best productions aren’t forced into a mold.

They’re supported by environments designed to evolve with them.

Your Vision, Fully Supported

At the end of the day, our approach comes down to one principle: your production should feel supported, understood, and empowered from start to finish.

Not guided into a box.
Not constrained by a single methodology.
Not sold a solution you don’t need.

Just thoughtfully supported by a team committed to helping you do your best work.

When your production succeeds, so do we — and there is no one path to getting there.

Only the one that works best for you.

If you’re location scouting with tax incentives in mind (and you should be), Upstate New York quietly offers one of the most competitive Film and TV credits in the country — without nearly as much noise as some other markets.

We’re talking 40–45% back when you stack the available incentives correctly.

Here’s what producers need to know.

Let’s Start With the Big Number: 40–45%

New York State’s Film Production Tax Credit provides a base 30% refundable credit on qualified production expenses — including many above-the-line wages (subject to caps), below-the-line labor, and production costs tied directly to the project.

But the REAL STORY for producers is what happens when you film outside the Metropolitan Commuter Transportation District (MCTD) — aka, Upstate.

Projects with a minimum budget of $500,000 can qualify for an additional 10% credit on qualified labor expenses in many Upstate counties. On top of that, companies producing multiple projects in the state may be eligible for another 5–10% enhancement through the Production Plus program.

When combined strategically, productions can realistically land in the 40–45% incentive range, making Upstate New York a very serious option.

And yes — this is a fully refundable credit, meaning it functions much more like a rebate than a deduction.



What Counts as a Qualified Production?

The program covers:

• Feature films
• Television series
• Relocated series
• TV pilots
• Films made for television

There are some familiar exclusions — reality programming, game shows, documentaries, commercials, and certain talk formats typically don’t qualify — but if you’re producing scripted content, you’re likely in the clear.

Another advantage?

A project shooting primarily outside downstate counties only needs a $250,000 minimum budget to qualify — significantly lower than the threshold required elsewhere in the state.

That makes the incentive especially attractive for indie features and emerging series.

Qualified Spending Adds Up Fast

Eligible costs generally include:

• Crew wages
• Set construction
• Camera and grip equipment
• Props
• Certain capped above-the-line salaries
• Post-production work completed in-state

If you’re spending money inside New York, there’s a strong chance it can help drive your credit higher.

There’s even an extra 10% credit available for scoring costs when productions hire at least five musicians — a detail many budgets overlook.



Don’t Sleep on the Post-Production Credit

Upstate gets even more interesting in post.

The standalone Post-Production Tax Credit offers:

• 30% base credit on qualified post expenses
• +5% for costs incurred upstate
• +10% labor bonus for projects over $500K

Do the math and you’re right back in that 40–45% range.

Better yet, this credit is available even if principal photography happens outside New York — as long as you bring the post work to a qualified facility in the state.

For producers juggling multiple financing pieces, that flexibility can be a game changer.




A Program Built for Stability

Tax credits don’t help much if they disappear overnight.

New York’s program is funded at $700 million annually for production and $45 million for post-production, with authorization running through 2036.

Translation: lenders trust it, bond companies understand it, and producers can build it into long-term planning.

That level of predictability is becoming increasingly rare.



A Few Strategic Considerations

To maximize the credit:

• Plan early — applications must be submitted before production begins.
• Track qualified spending carefully.
• Work with experienced payroll and accounting partners.
• Make sure you work at a qualified facility like Cobalt Stages.

And perhaps most importantly — design your production around the incentive, not the other way around.

The difference between a 30% credit and a 45% credit can materially change your financing stack.

Why Producers Are Taking a Hard Look Upstate

There’s a broader industry shift happening right now.

Producers aren’t just chasing the biggest headline incentive anymore — they’re looking for programs that are:

• Reliable
• Financeable
• Scalable
• Crew-supported
• Infrastructure-ready

Upstate New York checks all of these boxes.

When nearly half your qualified spending can come back to the production, creative decisions suddenly get a lot easier.




Final Takeaway

The Upstate New York Film and TV Tax Credit isn’t just competitive — when fully layered, it’s one of the stronger incentives available in the U.S.

40–45% back is the kind of number that can greenlight projects, attract investors, and stretch production value without stretching the budget.

For producers willing to look beyond the obvious markets, the opportunity here is substantial.

And increasingly, it’s intentional.



We love to talk about Virtual Production! We want you all to know about the flexibility, the cost savings and how it can bring your production to life. With limitless options available in the Virtual World, the KEY is prepping the production properly.

Why are we talking about this now?

Good question! Alex and Cobalt’s Virtual Production Operators spent last week at a workshop, taking a deep dive into the virtual workflow with the folks from Mo-Sys. We want to continue to share the wealth – well beyond the basics…





CG asset prep is key.

Virtual Production is sometimes sold as a quick way to do anything you can possibly imagine. Ummm, not so fast, Habersham… We’d like to point out that while there’s soooo much incredible flexibility with Virtual Production (and big expectations), Virtual Production still needs a healthy dose of pre-planning to maximize its AMAZING potential.

“Decisions must be made in advance of a shoot to maximize the power of the tech. Out of the box, you can certainly maximize production value while saving on production costs, BUT with a little pre-planning and building, you can create amazing synergy between the practical world and the virtual world,” says Cobalt’s onsite tech guru, Alex. Simply put, “With planning you can do extremely magical things.”

You don’t have to be in the city to shoot the city…
(HINT HINT 😉)

Beyond the basics.

Team Cobalt got seriously excited when a little gem came to light… Again, prepping assets is essential, BUT imagine being able to control the lighting of your CG environment LIVE via DMX!! So, if your scene is a club venue with dynamic lights, your on-set DMX OP can simultaneously control the practical lighting AND the CG lighting LIVE. And as we all know, DMX can control tons of VFX devices, like triggering motion control, fog machines, audio, etc. etc. Another example…. A driving shot. Your practical lighting of the occupants in the car, can match the CG street lights seen in the virtual world. Whoa. (see above)

Think about that for a second… Your practical lighting effects can perfectly match your Virtual Set. The possibilities to integrate your practical production elements into the VSet are literally limitless. This integration is just one of the big reasons why we were jazzed about VP in the first place – 10 years ago!!

Want to talk soon about your Virtual Production? We do too! More little gems to come, stay tuned…



Why Virtual Production DOESN’T STOP
in Snowstorms.



Snowstorms have a funny way of shutting things down.

Flights get canceled. Highways turn into parking lots. Outdoor shoots become a frozen guessing game of “Can we get one more take before everyone loses feeling in their hands?”

But here’s the thing:

Virtual Production doesn’t care if it’s snowing.

While the world outside is blanketed in white, Virtual Production stages keep rolling—warm, dry, powered up, and fully operational. Let’s talk about why snowstorms might actually be one of Virtual Production’s greatest flexes.

Weather-proof by design.

Traditional production is at the mercy of the elements. Rain delays. Wind issues. Snowstorms shutting down entire schedules.

Virtual Production?
It lives indoors, on purpose.

At Cobalt Stages, everything that matters happens inside a controlled environment:

• Climate-controlled stages
• Volumes and greens that don’t freeze
• Lighting that doesn’t depend on the sun showing up

If the forecast says “blizzard,” Virtual Production says, “Cool. What’s our call time?”





No travel chaos, no location roulette.

Snowstorms don’t just affect shoots—they affect people. Talent stuck at airports. Crew delayed on icy roads. Equipment shipments stalled halfway across town.

Virtual Production dramatically reduces those risks.

Instead of moving an entire production across multiple locations:

• You bring the locations to the stage
• You minimize travel
• You centralize your crew

Less scrambling. Fewer cancellations. Way less weather-induced stress.

When roads are icy and flights are grounded, having everything under one roof is more than convenient—it’s production-saving.

Your “outdoor” scene is still sunny (if you want it to be…)

Need a desert at golden hour?

A mountain range at dawn?

A tropical beach that absolutely does not exist in January?

Snowstorms can shut down real exteriors—but they can’t touch digital ones.

With Virtual Production:

• Snow outside doesn’t mean snow on screen
• Winter weather doesn’t limit creative choices
• Your story stays visually consistent, no matter the season

It’s summer inside at Cobalt, even if the parking lot looks like Antarctica.





Fewer delays = Fewer budget headaches

Weather delays are expensive. Every lost day means:

• Extra crew costs
• Rescheduling talent
• Pushing post timelines
• Blowing through contingency budgets

Virtual Production helps protect schedules when Mother Nature gets unpredictable.
Because the environment is controlled, productions are:

• More reliable
• More predictable
• Less likely to hit weather-related overruns

In other words: snowstorms stay outside, and your budget stays intact.

Safety First! (and second and third)

Let’s not forget the most important part: people.

Snowy conditions can create real safety risks—icy surfaces, freezing temps, dangerous travel conditions. Virtual Production significantly reduces exposure to those hazards.

Keeping production indoors means:

• Safer working conditions
• Fewer weather-related risks
• Happier, warmer crews

And a warm crew is a productive crew.

The Show Must Go On (And It Does)!

Snowstorms might shut down cities, but they don’t shut down Virtual Production.

At Cobalt Stages, we’re built for reliability—no matter what’s happening outside the walls. When winter weather hits, productions don’t have to panic, postpone, or pivot creatively.

They just… keep filming.

Because Virtual Production isn’t just about cutting-edge visuals.

It’s about control, consistency, and confidence, even when the forecast says otherwise.

So go ahead—let it snow.

We’ll be rolling cameras.



PROLOGUE

Looks like rain.

Dan Clifton:

There was a whole idea post-COVID—The Mandalorian, LED volumes, high-tech solutions. You can spend a lot of money going down those rabbit holes.

Alex Fernbach:

We’re brokering outcomes, not equipment. If the best answer is an LED volume, great. Not every problem wants a new tool.

Kara Vedder:

“Oh, Hi!”’s rain scenes relied on what Alex calls “retrotech”—effects that have had decades to let us down and still haven’t.



ACT 1

Small film, serious people.

Kara Vedder:

Congratulations on “Oh, Hi!” making it to Sundance all the way from Woodstock!

Dan Clifton:

This was a small film, made by a lot of people who were already doing bigger things—like Molly directing a movie for A24.

“Oh, Hi!” was written by Sophie Brooks, who developed the story during COVID lockdown with actor Molly Gordon, who stars in the film. I had produced Sophie’s first film with David Brooks, who is my friend and her brother. When Sophie had a draft of the script, David came onboard first, then me, and producer Julie Waters.

Alex Fernbach:

Was Sundance always in the back of your mind?

Dan Clifton:

Molly’s film Theater Camp premiered there and sold, so Sundance was always the goal. But it wasn’t a Sundance Labs project and wasn’t on the festival’s radar before we shot it, so it wasn’t a sure thing.

Kara Vedder:

What was it about this story that landed with you?

Dan Clifton:

I always enjoyed Sophie’s writing, having produced her first film. But there are very few modern films about modern dating and modern situationships that feel honest and accurate. The audience isn’t really asked to take sides. You see two flawed people go through a very normal modern relationship story. That was really compelling to me.

People thought it was extremely funny. People thought the movie was really relatable. I could hear young couples talking and arguing about it as we all walked out, which is always a good sign.



ACT 2

“Upstate” is relative.

Alex Fernbach:

How did Upstate New York become the plan?!

Dan Clifton:

Originally, “Oh, Hi!” was a double entendre—it was meant to be set in Ojai, California. We could have made the film on a very low budget there, but at the time the tax incentive was still a lottery system, so there was no way we’d get the California tax credit.

Knowing there was a 40% tax credit for the Upstate bump, we decided this had to be shot in Upstate, New York. A lot of us live in New York or have ties to it, so we moved the production Upstate fairly early.

“Knowing there was the 40% Upstate tax credit, we decided this had to be shot in Upstate New York. The Hudson Valley is a lot more accessible than people think.” “Oh, Hi!” – Producer, Dan Clifton

Kara Vedder:

What were the biggest challenges working with us Upstate?

Dan Clifton:

The biggest challenge was travel, living, and moving—but “Upstate” is relative. New York is a very large state. If you’re shooting where Cobalt’s stage is in Woodstock or around Kingston, it’s much easier to access from the city than people assume.

My first impression was that it was a really great space, exactly where we needed it. It had everything we needed—it felt turnkey from the start.

We walked in, took the tour, saw the setup, and realized pretty quickly that it would fit cleanly into the schedule and the plan. We always had a “day three” mapped out: two very difficult days, then our stage day, then everything else. For us, the stage day felt easy. We felt taken care of.

Dan Clifton:

The end of the film has a lot of rain, with multiple sequences built around it. It wasn’t feasible to do rain practically with towers—we ran out of money and the ability to do that at scale.

At first, we asked all the usual questions: Is it on location? Is it practical? How do we do this without worrying about weather cover? Over a matter of weeks, working with Cobalt, we started to see the shape of a solution.

Talking with Alex and spending time on the stage, we landed on a rear-projection rain setup that really plays well in the film. From a story perspective, it became one of the stronger practical gags.

Because we already had set builds on the stage, once we worked through the technical constraints, it became a no-brainer to move that work there, as well. It wasn’t a last-minute pivot—it was solved deliberately, in prep.

If you step back and look at it, it looks extremely silly outside the frame. But it played incredibly well on camera and totally sold the effect.

As soon as we saw the first demo on the monitor, we knew. We looked at it and said, “Oh wow—this really works.”

Alex Fernbach:

Let’s hear it for retro-tech! No need for a cannon when all you need is a fly swatter.





ACT 3

Don’t be afraid of old solutions.

Dan Clifton:

The fact that it worked so well—and we didn’t have to fix it later or spend more time and money—was huge.

We wrapped September 15 and had to submit a cut to Sundance a month later. That meant four weeks of editing, which is kind of insane.

Doing things practically, in camera, meant we could edit early without waiting for VFX. That really helped the movie.

We’ve all seen cuts where you see “VFX fixed later” or where scenes are missing. You can’t not feel that as a viewer—even in early cuts.

Dan Clifton:

Sundance is moving on from Park City after this next year, and it was a special time to be there. The film premiered in the Premiere section, so it wasn’t in competition, but audiences—especially young people—really responded. It was extremely funny and relatable.

We premiered in the Eccles Theater, which holds about 1,000 people, and you could hear couples talking and arguing about it as they walked out.

This was a small film made by people doing bigger things, so we really appreciated Cobalt as partners—using their expertise to support a relatively low-budget film. We’re grateful, and we won’t forget it as we move on to other projects.

There’s nothing worse than being in the edit and realizing a sequence doesn’t work and needs a reshoot. If something involves vehicle work or effects, get ahead of it early and figure out a controlled plan. Make the plan early. Don’t be afraid of old solutions.

Find good partners.

🎥



Level Up Your Production in 2026

Here are 26 Ways Cobalt Can Help



1. We’re Innovative.

We’ve assembled a kickass Virtual Production system! We’re always updating our tech, and looking toward the future so we can offer clients the perfect tools for their needs.

2. We’re Producers.

Our credo is Production Reimagined. In a world of drafty, blank spaces, we strive to offer more— comprehensive tools, thoughtful amenities, and a supportive team. Our clients feel the difference, right away.

3. We’re Turnkey.

Why spend your precious time sourcing lights, rigging tools, and folding chairs? At Cobalt you don’t need to. We save you time and money by offering all your production essentials onsite.

4. We’re Virtual Set Virtuosos.

We set up the East Coast’s first Virtual Backlot to help you save money, reduce waste, minimize the cost of crew hours, and place your story in any location you can imagine. A huge win for productions and the planet!





5. We’re Woman Owned.

Cobalt is a woman-owned soundstage. We strongly believe in working toward gender equality in the Industry. Please join us in supporting even more women-owned businesses and women-led projects in 2025!

6. We’re a Green Facility.

We’re committed to considering the impact of our actions on people and the environment. We also do our part by donating leftover food, investing in sustainable Virtual Sets, and making our own non-toxic, chemical free cleaning products and Kara Care skincare swag.

7. We’re Magic Makers.

Arthur Clarke said, “Any sufficiently advanced technology is indistinguishable from magic”… We have the tech to make the magic, and Cobalt’s tech wizard, Alex, can help you make the most of it.

8. We Care About Peace ~ Quiet and Comfort.

Because of our Industry background, we understand how a thoughtfully curated soundstage can put clients at ease – and even help them relax – to elevate the quality of your work. Our well-appointed client spaces make it comfortable to hold a meeting or simply ‘peace out’ for a sec. And we’ve even expanded to the country with Cobalt Woodstock ✌️.

9. We’re By Producers, For Producers.

We leverage our Industry experience to make everything you need easily accessible, so you can focus on what matters– doing your best work. We’re committed to creating the most comfortable, convenient, cutting-edge, and cost effective experience.

10. We’re Production Advisors.

Helping producers problem-solve their projects is one of our specialties. We believe in taking the time to listen, and we’re quick to offer innovative and practical solutions to save your production time, money, and stress. In fact, we provide consultations for producers and writers on their scripts to see where cost-savings might be had with virtual production or not! Just ask!!

11. We’re MoCo Masters.

Our clients have convenient access to our comprehensive inventory of Motion Control equipment—the largest and most diverse on the East Coast. Our Gazelle Motion Control camera crane also goes on the road–anywhere your production does.

12. We’ve Got the Matrix Man.

Cobalt’s very own Alex Fernbach designed and invented the 1st array camera used in the legendary “Bullet Time” scene in “The Matrix.” These days, he brings his unparalleled knowledge and creativity to Cobalt to support YOUR productions.

13. We’re in the Heart of New York’s Artistic Enclave.

Cobalt Woodstock is centrally located smack in the middle of one of New York’s original centers of Art. Your production, talent, and crew will have access to stylish BnB’s, outstanding food, and a community of artisans, all while saving a bundle on parking, lodging, and meal cost.

14. We’ve Got ALL the Tax Breaks.

Because we’re in upstate New York, your production will get up to 40% of ABOVE AND BELOW the line on qualified expenses. No need to read between the lines here. And, 45% for post!

15. We’re Wired.

Superior connectivity makes it effortless to multitask and monitor your production. At Cobalt, a live HD feed broadcasts from our soundstage to the client room, conference room, commercial food prep kitchen, wardrobe, and makeup areas.

16. We’re Streaming Live.

Our Live Streaming capability allows decision-makers to keep a tab open on their computer, even remotely, with continuous HD quality footage delivered in real-time. Clients can tune in and weigh in, so the whole production isn’t waiting around to get the thumbs-up 😉

17. We Don’t Nickel and Dime You.

At some soundstages, your itemized bill can look like you went on a Whole Foods bender. At Cobalt, there’s no need to rent or carry in basic amenities—and we won’t bill you for them either.

18. We’re the Swiss Army Knife of Studios.

Cobalt’s inventory of in-house production tools is curated and updated by seasoned professionals. We offer lighting, rigging, high-end lenses, precision robotics, Virtual Set, and more!

19. We Do Tabletop.

We’re passionate about tabletop at Cobalt. It’s in our DNA. Our home ec kitchen is fully-equipped and easy-to-reconfigure for all types of food-centric projects. This, combined with a wide variety of miniature rigs, specialized optics, and in-house motion control, makes producing tabletop easy and efficient.

20. We’re on Your Team.

At Cobalt, we’re as passionate about production excellence as you are! We invite you to make us your secret weapon by leveraging our experience and resources—just like an extension of your team.

21. Get Creative.

No two productions are the same, so our spaces are built to be ultra-flexible. We’re hosting Virtual projects with clients making use of our live compositing, and Live-streaming with others! Some are even making use of our insert stage for still shoots all-the while. And if its easier for us to come to you with our Tech, we’ll do that, too!

22. Make Us Your Secret Weapon.

At Cobalt, we’re as passionate about production excellence as you are! We invite you to leverage our expertise and equipment, just like an extension of your team. We’d love to hear about your next production, and how we can help.

23. Use More, Pay Less.

We deliver the best value by offering generous free amenities and a comprehensive inventory of onsite production tools.

24. More Green (A Lot More).

Cobalt Woodstock is home to one of the largest green screens on the East Coast. This newly installed screen is 70 feet wide and 20 feet high, which means you can let your production’s imagination run wild.

25. Park to Your Heart’s Delight.

Want to drive a box truck into the soundstage? No big deal, we can handle it. Need easy and stress free parking for your whole crew? We’ve got that too. Cobalt is all about making things easy so you can focus on the work at hand.

26. Feature Film? No problem.

Cobalt helps all kinds of clients, all over the world, with all types of projects. We’re even helping produce features now <3 Let’s talk.