Greenstar Technology Service Network
New York · Film · Television · Commercial
We design, build and run the systems between the camera and the delivery: scanning, virtual production, on-set data, lighting networks and post infrastructure. Built by people who have worked on set.
Talk to usEvery production is a new company with a new crew and a deadline. The camera, the lights and the stage are rented; the systems that move data, drive the wall and keep the footage safe usually aren't anyone's job. That is our job.
Capture
Photogrammetry rigs that turn a person or a prop into a clean 3D model the same day: camera sync, capture stations, the processing pipeline and the storage behind it. Every scan carries its consent and likeness record, so a double can be used on this show and not quietly on the next.
Virtual production
The wall is the visible part. Behind it sit render nodes, camera tracking, genlock, a network that cannot drop a frame and content that has to be on every node before call time. We build that layer and watch it through the shoot, so the operator desk sees a fault before the director does.
Performance capture
Capture stages that hand performance data straight to the engine, so the director watches the character, not the dots. We wire the capture-to-render pipeline, automate retargeting and keep every take indexed against the script.
Locations
A scout day becomes a measured 3D model the art department, the gaffer and VFX can all open: real dimensions, window positions and sight lines. Set extensions line up, and nobody drives back to Bushwick for a tape measure.
On-set data
Card offloads verified by checksum, copied to two drives and the cloud, proxies made for editorial overnight. When a copy fails or a drive fills, the DIT and the post supervisor hear about it that minute, not in the edit three weeks later.
Lighting
Modern sets are lit over a network: DMX, Art-Net and sACN to hundreds of LED fixtures. We design the network, back up the show file and monitor every universe, so a bad switch is a two-minute fix and not a lost hour.
Post
Storage, render nodes and backups for post houses that grew a rack at a time. We map what you have, verify that backups actually restore, and put the whole room under monitoring with someone answering the alert.
Review
The producer in Los Angeles and the client in London watch the same take as video village, live, on a secure low-latency stream, and their notes land on the take, not in a text thread.
Click a month to open it. Click a chip to hide or show it; double-click to see it alone.
Production activity
Every bar is a month of film, television, commercial and web shoots with a city permit. Each one is a crew, a basecamp and a day of data to move. We follow where they happen, borough by borough.
Source: NYC Mayor's Office of Media and Entertainment film permits (public data). Theatre load-ins excluded.
Our production lead holds a B.A. in TV/Film Production from SUNY Plattsburgh, with minors in Broadcast Management and Marketing, and has worked on sets in lighting. Our engineering lead holds a B.S. in Computer Engineering from the University at Buffalo. We know what a DIT does at wrap, what a network's delivery spec rejects, and why a show's company still exists two years after the show.
Our engineering side designs, builds and operates monitoring, infrastructure and proprietary workflows for New York businesses whose operations depend on them. Together that means the system gets built by people who understand the set it serves, and then it gets run.
Tell us about the production: the shoot, the dates and what keeps going wrong. Within one business day we reply with our questions and a short written read of what we would build.
A written scope before any work: each system, what it connects to, who on your crew uses it and the date it is ready. One fixed fee, agreed up front.
We deploy it and hand it off. You get maintenance and updates.