Campaign Playbook 008
Virtual Production
Virtual ProductionVirtual Production
Claire Harrison shoots on film and does not use AI in her photography. Every plate on the LED volume here is her own real work, restaged and flipped live rather than generated. This shoot is part of a creative relationship with SSD that goes back years, and it sits inside Claire and Adelaide's own photographic book, Fallen Flowers.
The look of this shoot comes from Claire's photography and Adelaide's styling. But none of it holds together without a clear workflow behind the screen. This is how Marco worked the plates in real time, from light checks to final colour.
Profoto lighting checked and calibrated against the plate on screen before the model steps in, using a dedicated light meter. Exact meter model to be confirmed.
Plates adjusted live as the shoot happens, not handed off to a post pass. Camera settings, shutter speed, focal length and subject distance, dialled in per setup on the day.
RAW files pulled for metadata once delivered, so the exact settings behind each plate can be shown here directly. Not yet available.
Camera body and lens, to be confirmed once EXIF data is pulled from the RAW files.
Profoto lighting, calibrated on set to match the plate on screen so physical and digital light read as one source.
A dedicated light meter, used for the pre-shoot and shoot day calibration above. Exact model to be confirmed.
[Placeholder for Marco's commentary on real time plate edits, light calibration and colour work on this shoot.]
SSD Associate: Live Set | Plate Calibration. Runs the ecom workflow on the volume above, real time edits, light and colour calibration, on every shoot in this set.
Helen's connection with Claire and Adelaide did not start with this shoot. At least three years ago, with her previous business Set Surfaces, she loaned physical panels for a shoot with them in a poppy field. Those photographs are part of the finished Fallen Flowers book. Helen and Claire share a drive for sustainability, which is part of why Claire will not use AI in her photography. It is about protecting photographers' work as much as it is about environmental impact. This shoot continues a relationship that started years before it became a case study.
The original Set Surfaces collaboration with Claire and Adelaide, on location, panels loaned for the shoot. The panel visible in this shot is Set Surfaces. It is part of a wider body of work that has always been shot from a sustainable standpoint, long before this VP session existed.
A photographic tribute to women, nature and the British landscape. Conceived and creatively directed by Claire Harrison, made in collaboration with Adelaide Turnbull. Shot across the British countryside over three summers beginning in 2022. Eleven distinct landscapes shaped by seasonality, weather and light, from a bluebell forest to shifting fields of colour.
Watching the light shift through the rapeseed, catching the highlights on the skin, was pure magic. Every detail, from the gentle tones to the natural textures, came together in a way that felt effortless, like the forest was collaborating with us. I'm so grateful to have been part of creating something so intimate and cinematic.
Casebound, thread sewn, 220 pages, FSC certified, printed using 100% renewable energy in Bath, UK. Standard, Special and Collectors editions available, the Collectors print titled “Poppies.” Anticipated delivery August 2026. Published by Landscape Editions Limited via Kozu Books.
Every image displayed on the LED volume for this shoot is Claire's own photography from her real field shoots. Nothing on screen is AI generated. VP was used to restage and manipulate her real work live, with the model physically part of it, not to invent a new environment.
Every plate on the LED volume is Claire's own field photography. Nothing generated. All you see is hers.
A levitating shot from the original Fallen Flowers shoot was restaged live in studio on the volume.
A blue flower plate was flipped live so the model could physically reach into and dive into Claire's own flower photography.
Flowers, insects and body paint were added physically, in front of the screen, not composited digitally afterward.
The creative team carried over from the original book shoot through to this VP session.
Plenty of behind the scenes footage of the LED volume mid-shoot. Process material still to be selected.
Beauty and detail work from the shoot, styled with body paint and real foreground florals against the restaged plates.
On set together for this shoot, in front of the same screen shown throughout this page.
Studied photography at the University for the Creative Arts, with analogue roots in textiles, painting and darkroom processes that still shape her work. Co-founder of Battersea Park Studios. Flowers recur throughout her personal work, and clients include Avon, Clarins, Dove, L'Oréal and Vogue.
Fashion stylist, art director and writer. On Fallen Flowers she worked across floral styling, co-art direction, location finding and the written narrative, the range that holds the book together as one atmospheric world.
Short quotes from Claire and Adelaide, on why this way of working matters to them.
[Placeholder for Claire's quote. Short and plain, in her own words, on sustainability and choosing VP over AI.]
[Placeholder for Adelaide's quote. Short and plain, in her own words, on the same themes.]
This one looks different to the other case studies in this set. The Creative and Compliance lenses in particular change shape when the entire premise is real photography, not AI generation.
Restaging a photographer's own real work live on the volume, including a physical flower-plate dive, rather than generating new environments.
Figures pending. Not yet modelled for this shoot.
Methodology pending. Will follow the AdGreen approach used in CS1, not invented figures.
No AI generated imagery anywhere in this shoot. Every plate is Claire's own copyrighted photography, which addresses the IP protection concern directly.
A multi-year creative relationship, continued rather than started. SSD and Claire are connected by a shared drive for sustainability.
Fallen Flowers is published by Landscape Editions Limited via Kozu Books, anticipated delivery August 2026.
The poppy field panels and this VP shoot are one continuous story, not two separate projects. Set Surfaces loaned the physical panels for the original field shoot years ago; Set Surfaces Digital brought Claire's own photography back onto a screen for this one. Nick captured the behind the scenes on the day and is cutting it into the accompanying masterclass.
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