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The best-known TV series made with Unreal Engine is The Mandalorian. It used Unreal Engine as part of StageCraft, a virtual-production system that displayed real-time digital environments on LED walls during filming. That does not mean the entire show—or every shot—was created in Unreal Engine.
How The Mandalorian used Unreal Engine
For parts of the production, artists built digital locations and brought them into Unreal Engine, where they could be viewed and adjusted in real time. Those environments appeared on a large, curved LED stage behind the actors. Camera tracking linked the physical camera to the virtual scene, so the background’s perspective shifted as the camera moved. The LED wall also cast some of the environment’s colors and light onto performers and physical set pieces.
This approach is known as in-camera visual effects, or in-camera VFX: digital imagery is photographed as part of the live-action shot rather than added entirely afterward. Epic describes The Mandalorian as a prominent example of this workflow and a production that helped advance virtual-production tools (Epic’s virtual-production explainer; its account of work on The Mandalorian).
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StageCraft is the broader production system associated with the show, not another name for Unreal Engine. Unreal Engine is the real-time 3D software; StageCraft brings together software, LED screens, camera tracking, physical elements, and the crew’s production workflow. “The Volume” is a common term for a large LED virtual-production stage.
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Was the whole series made in Unreal Engine?
No. The Mandalorian is live-action television, not a fully computer-generated series, and Unreal Engine did not replace the rest of filmmaking. The production still involved actors, cinematography, physical sets and props, editing, sound, post-production, and visual-effects work. Some scenes or elements may be handled with practical effects, location photography, green screen, or conventional CGI instead of an LED wall.
It is more accurate to say that The Mandalorian used Unreal Engine-powered virtual production as an important part of its workflow. It would be misleading to say that every scene was created in Unreal Engine, that the actors performed entirely inside a video game, or that the engine rendered the complete finished series.
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Other TV series associated with Unreal Engine
The Mandalorian is the familiar answer, but it is not the only television production to use Unreal Engine or related virtual-production techniques. The examples below differ in how the technology was used; a mention does not mean that every season, episode, or shot relied on the same setup.
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| Series | Documented use | Qualification |
|---|---|---|
| Westworld and Run | Epic included both in a 2020 overview of productions using Unreal Engine for virtual production. | This does not establish that every season or sequence used the engine. Epic’s overview |
| Fallout | Epic identifies the Amazon series as using virtual production powered by Unreal Engine, including in-camera VFX. | The production also used traditional filmmaking methods; Unreal Engine was one part of the workflow. Epic’s film and television examples |
| Star Trek: Discovery | An Epic case study describes an LED-stage setup using Unreal Engine and camera tracking. | The facility’s work on other productions does not show that all those shows used Unreal Engine in the same way. Epic’s case study |
| Jack Reacher | APG Media says it supplied an LED-volume virtual-production environment with Unreal Engine content tailored to scenes in Amazon’s series. | This detail comes from the vendor that supplied the setup. APG Media’s production announcement |
| The Eternaut (El Eternauta) | Netflix reports that the Argentine science-fiction series used extensive virtual production, including 35 virtual sets and a digital recreation of part of Buenos Aires. | That evidence supports describing it as a major virtual-production series, but does not by itself establish that Unreal Engine rendered every digital element. Netflix’s production account |
| Max & the Midknights | Epic says the Nickelodeon animated series used Unreal Engine 5 in its CG-animation pipeline for worldbuilding, cinematography, lighting, effects, and virtual-camera work. | This is a different use from filming live actors in front of an LED wall. Epic’s series case study |
“Made with Unreal Engine” can mean several things
Unreal Engine is a real-time 3D creation platform, not a single television-production technique. A production might use it for:
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- In-camera VFX: displaying digital environments on LED screens while filming live action.
- Virtual sets and scouting: exploring digital locations and planning camera positions before a shoot.
- Previsualization: roughing out scenes, shots, and movement so departments can plan together.
- Real-time effects or postvisualization: previewing digital elements or shaping a scene before final VFX work.
- Final animation: rendering finished imagery in a CG series, as Epic describes for Max & the Midknights.
A series may use Unreal Engine for planning but render its final shots elsewhere. Another may render animation in Unreal Engine without using an LED stage. So the phrase alone does not tell you which part of the production used the software.
Why use a virtual-production stage?
An LED stage can let directors and cinematographers see a more complete environment while shooting. Instead of asking actors to imagine every background against a green screen, the crew can put visible surroundings behind them. The displayed scene can also contribute light and reflections, and digital locations can be adjusted or revisited without moving the entire production to a real-world site.
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Those are possibilities, not guaranteed savings or shortcuts. A virtual stage needs suitable screens, tracking, powerful rendering equipment, prepared digital assets, and a skilled technical crew. The image still has to work for the camera: tracking errors can break perspective, and screen brightness, reflections, viewing angles, resolution, or moiré can create problems. LED walls do not eliminate post-production, and a hybrid workflow—combining the volume with practical sets, locations, green screen, and conventional CGI—is often the sensible choice.
Was The Mandalorian the first?
It is safer to call it a breakthrough and the best-known early example of Unreal Engine-powered LED-volume production, not simply “the first TV series to use Unreal Engine.” A claim of “first” depends on what counts: any use of the software, virtual sets, a particular LED-stage system, or final-pixel animation are different categories. The documented examples above show that Unreal Engine now appears in several kinds of television workflows.
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For viewers, the short answer remains The Mandalorian. The useful technical answer is that the series combined live-action filmmaking with Unreal Engine-driven virtual environments as part of StageCraft—not that the show was made entirely inside the engine.
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