Two World Cup Projects. Two Completely Different Production Pipelines.

One happened entirely in the digital world: a stylized cinematic for Bleacher Report’s B/R Football.

The other put our mobile LED wall in front of the U.S. Men’s National Team for a media day shoot produced by Studio 33.

One was animation and Unreal Engine. The other was a physical LED production built on location.

Together, they’re a good example of the range of work we’re doing at Form Studios.

B/R Football: A World Cup Cinematic

For Bleacher Report, we worked on a stylized cinematic for B/R Football centered around the 2026 World Cup.

The concept reimagined some of football’s biggest names as collectible figures, combining the visual language of sports, gaming and collectibles into a fully animated piece.

Form Studios contributed animation to the project alongside director Tom Webb and the creative team at Project XIV.

This project came through the cinematics side of Form Studios, where our team works inside Unreal Engine across animation, virtual cameras, lighting, environments and final cinematic content.

It’s a very different workflow from shooting on one of our LED stages. Instead of putting a physical camera in front of an LED wall, the camera, characters, lighting and world can all exist inside the engine.

But the same filmmaking principles still apply. Camera movement, composition, lighting, pacing and performance all have to work together to sell the final shot.

U.S. Soccer: Taking the LED Wall to Media Day

Our work with U.S. Soccer took almost the opposite approach.

Studio 33 brought Form Studios onto a U.S. Soccer media day to provide a mobile LED wall that could be built directly at the shoot location.

Instead of bringing the players to one of our stages, we brought the LED wall to them.

The wall became part of the visual design for a series of player hype videos, giving the production team a large, controllable canvas for animated backgrounds, graphics, color, light and movement directly behind the players.

This wasn’t necessarily about making the LED wall disappear like it might in a traditional virtual production shoot. The LED itself was part of the look.

Bold graphics, changing colors and moving environments could happen practically around the players and be captured directly in camera.

Here are a couple of the final pieces U.S. Soccer released from the shoot:

A big shoutout to Studio 33, who produced the LED wall media day portion and brought Form Studios onto the project. We supplied the mobile LED system and supported the LED production while their team led the production and creative.

Two Very Different Ways to Create

What we like about these two projects is how little they have in common from a production standpoint, even though they were both connected to the same World Cup.

For B/R Football, our work happened inside the computer through our cinematics and animation pipeline.

For U.S. Soccer, we loaded an LED wall and the supporting system into cases, took it to location and built a temporary LED stage around their production.

That’s a big part of what Form Studios has become.

We work across virtual production, mobile LED, motion capture, cinema robotics and Unreal Engine cinematics. Sometimes several of those technologies come together on the same project. Other times, completely different parts of our team and technology stack are used to solve completely different creative problems.

The 2026 World Cup gave us a chance to do both.

If you’re working on sports content, athlete media days, commercials, cinematics or something that doesn’t fit neatly into one production category, we’d love to hear what you’re working on.