Immersive Room Content: Costs, Process and Why Multi-Screen Video Goes Wrong (2026)
The short answer
Bespoke content for a multi-screen immersive room in the UK typically costs £20,000–£90,000, and takes 8–16 weeks. That is the content only. Screens, projectors, media servers and installation are a separate budget, usually of a similar size.
The number that decides whether the room works isn't in either budget. It's whether the content was designed for the room — its exact pixel dimensions, its seams, its sightlines — or designed for a normal screen and stretched across the walls afterwards.
Most immersive rooms that disappoint have good hardware and good footage. What they lack is choreography: one story planned across every wall at once.
This guide covers the three kinds of immersive content, what each costs, the five ways multi-screen video goes wrong, and the technical checklist your AV (audiovisual) team will want before a single frame is made — with three rooms we've made along the way.
The three kinds of immersive room content
Every brief falls into one of three types. Knowing which you need is the fastest way to a realistic budget.
Ambient loop. A 2–5 minute film that plays continuously while people walk in, wait or talk. It sets the mood and carries the brand, and it has to survive being seen from any point, at any moment. Common in lobbies, reception spaces and experience centres between sessions.
Presenter-led show. A live speaker stands in the room and the walls respond to what they say: data, archive, product and place appear on cue. It turns a pitch into a performance. Common in client briefing centres and executive visits.
Interactive or real-time. The room reacts to visitors, a tablet or live data, usually built in a game engine. The most engaging and the most expensive to build and maintain. Common in museums, visitor attractions and flagship launches.
Most corporate rooms need the first two: one loop for arrival, and one show for the meeting. Interactive is worth it when the room is open to the public and visitors stay longer than a few minutes.
Immersive animation — original content made by Kenzo Studio Ltd. © 2026 Kenzo Studio Ltd. All rights reserved.
What immersive room content costs in the UK
For a five-wall room, bespoke content usually runs £20,000–£90,000. Ranges are for content only, from a specialist UK studio, as of September 2026.
Adapting existing films to the room — £8,000–£20,000, 4–6 weeks. Your existing footage re-edited and re-composed for every wall.
Bespoke ambient loop — £20,000–£45,000, 8–12 weeks. A 2–5 minute film designed for the room from scratch.
Presenter-led show — £40,000–£90,000, 10–16 weeks. A 5–10 minute show cued to a live speaker, plus a loop.
Interactive or real-time — £80,000+, 16 weeks+. Game-engine content that responds to visitors or data.
For context, industry cost guides put content at roughly 30–50% of a whole installation budget, with hardware taking a similar share and installation the rest (Utsubo). Room-scale projection projects in Europe commonly run €75,000–€200,000+ all in (Mimic).
What moves the content number most: how many walls carry unique content rather than mirrored content, whether it's 3D or motion graphics, how long the show runs, and how many on-site test days the room needs. Resolution matters less than people expect — the work is in the choreography, not the pixel count.
One line most quotes leave out: updates. A room that shows the same film for three years stops being shown to clients. Budget for at least one content refresh a year.
Why most multi-screen content looks broken
You've probably stood in one of these rooms. Expensive screens, good footage, and yet it feels like five televisions rather than one space. There are five usual reasons.
It was made for a 16:9 screen and stretched. A film edited for a laptop, then spread or repeated across the walls. Faces get cut in half by the corners, and nothing uses the room's actual shape.
The walls don't talk to each other. Each screen plays its own clip. Nothing moves from one wall to the next, so the eye has nowhere to go and nobody knows where to look.
The seams weren't designed for. Corners, bezels and gaps between screens slice through text and faces. Good room content puts important things away from the joins and uses the corners as transitions.
It drifts out of sync. Five separate video files started at the same time won't stay together for long. A few frames of drift is enough to break the illusion. The fix is in the playback system and the file format, and it has to be tested in the room, not the edit suite.
Nobody checked the sightlines. Content that looks right from the edit desk can be wrong from where people actually stand, sit or present. Text on a back wall that's behind the audience is text nobody reads.
All five come from the same place: treating the room as a set of screens rather than as a space. The fix starts before any animation — with a scale model of the room.
Three rooms we've made
Each of these plays across five screens in sync. More is on our immersive video page.
NHS
One animation choreographed across all five screens at once, so the story flows around the room as a single canvas. Nothing is repeated wall to wall; the room is one frame.
NHS — original content made by Kenzo Studio Ltd. © 2026 Kenzo Studio Ltd. All rights reserved.
McLaren Racing
A presenter-led walkthrough turned into something cinematic. As the speaker talks, specs, archive footage and race data appear across the walls on cue, each graphic backing up the point she's making. The look takes its cue from the heads-up displays of science fiction, so visitors feel they've stepped into the cockpit rather than sat through a presentation.
McLaren Racing — original content made by Kenzo Studio Ltd. © 2026 Kenzo Studio Ltd. All rights reserved.
Linen Docks
A case study made with Deloitte for Landsec. Drone footage of the area wraps the side walls while interviews play front and centre, so visitors take in the place and the people behind it at the same time. It feels less like a presentation and more like being shown around the neighbourhood.
Linen Docks, made with Deloitte for Landsec — original content made by Kenzo Studio Ltd. © 2026 Kenzo Studio Ltd. All rights reserved.
How it's made, and how long it takes
A bespoke ambient loop or presenter-led show usually takes 8–16 weeks. The steps that make the difference come before animation starts.
Site survey and pixel map (1 week). Exact dimensions and resolution of every wall, where the seams fall, where people stand, and how the content is played back.
A 3D model of the room (1 week). Built to scale, so every idea can be seen from the audience's position before it's made. Most of the failure modes above are caught here.
Script and room storyboard (2 weeks). Not a storyboard of frames, but of the whole room at each moment: what each wall is doing, and where the audience's eye goes next.
Style frames in the room (1–2 weeks). Key moments rendered inside the 3D model, so stakeholders approve the experience rather than a flat image.
Production (3–8 weeks). Animation, 3D, filming and sound, built at the room's native resolution rather than scaled up later.
Encoding and on-site testing (1–2 weeks). Files encoded for the playback system, then tested in the room until sync is perfect and the seams disappear.
Step 6 is where most schedules slip, because the room is rarely free. Book the test days when you book the project.
The technical checklist to send your AV team
Forward this list to whoever runs the room. The answers set the canvas the studio designs to, and most of the cost of fixing a room later comes from getting one of them wrong.
Resolution of each wall in pixels, and whether any walls share an output.
Physical size of each wall in metres, and where the seams and corners fall.
Display type: LED, LCD video wall or projection. Each handles brightness, black levels and seams differently.
Playback system: the media server or player software, and whether all walls run from one machine or several.
Sync method: how the outputs are locked together, and whether it has been tested with long files.
File format and codec: what the player plays best. HAP (a codec built for real-time playback on media servers) is common for multi-screen work because it decodes quickly and holds sync.
Frame rate: 25 or 50 frames per second in the UK, fixed for every wall.
Audio: speaker positions and channels, so sound can follow movement around the room.
Control: how a presenter triggers cues — tablet, clicker or operator.
Access for testing: which days the room is free, and who from the AV side will be there.
If nobody can answer these, that's the first thing a good studio will help you find out.
Five questions to ask any studio
The answers separate studios that make rooms from studios that make videos and hope they fit.
"Can I see a room you've made, filmed in the room?" Not the edit, and not a flat export. A phone video of the real space shows the sync and the seams honestly.
"How do you design for our seams and corners?" You want a specific answer about where content sits and how the joins are used, not a promise that they won't be noticed.
"Will we see it in a model of our room before you animate?" If approvals happen on flat frames, surprises happen on install day.
"How many on-site test days are in the quote?" At least one. Two if a presenter is involved.
"What happens when we want to update it?" Ask who holds the project files, and what a refresh costs. A room should get better over time, not older.
Frequently asked questions
How much does immersive room content cost in the UK?
Bespoke content for a multi-screen room typically costs £20,000–£90,000, depending on whether it's an ambient loop, a presenter-led show or interactive. Adapting existing films to a room can start around £8,000. Hardware and installation are budgeted separately.
How long does it take to make content for an immersive room?
Usually 8–16 weeks for bespoke content, including one to two weeks of testing in the room itself. Adapting existing footage can take four to six weeks.
What is the difference between an immersive room and a video wall?
A video wall is one flat display. An immersive room wraps screens or projection around the audience on several walls, so content has to be designed for the whole space and for where people stand.
Can we use our existing videos in an immersive room?
Yes, but they need re-composing for each wall, not just stretching. A 16:9 film spread across five walls usually looks broken at the corners and seams.
What video format do immersive rooms use?
It depends on the playback system, but multi-screen installations commonly use codecs built for real-time playback, such as HAP, at a fixed frame rate across every wall so the screens stay in sync.
Do we need a specialist studio for immersive content?
You need a studio that designs for the room rather than for a screen: one that builds a model of the space, designs around the seams, and tests on site. Ask to see their work filmed in the room.
How often should immersive room content be updated?
At least once a year for a client-facing room. Rooms that show the same film for years stop being used for important visits.
Working with Kenzo Studio
I trained as an architect at the Bartlett and worked at Grimshaw before moving into film. That's why we start an immersive project with the room rather than the footage: the sightlines, the scale, and how people move through it.
Only a handful of studios make synchronised content across five screens. We've made it for the NHS, McLaren Racing and, with Deloitte, for Landsec.
If you have a room that isn't earning its keep, or one still on the drawings, send us the dimensions. We'll tell you what it can do, what it should cost, and whether your existing films can be adapted before you commission anything new.
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All films and animation in this article are original work created by Kenzo Studio Ltd and are protected by copyright. Client names and trademarks belong to their respective owners.