Pitch deck · Lagos
Virtual Production Studio Technology
Lagos's first Unreal Engine virtual production stage plus proprietary AI script and animation tooling — two ₦1B+ theatrical films a year, with facility rental to Nollywood studios.
Concept footage, made in webfaCe Studio
Good morning. We are building Lagos's first Unreal Engine virtual production stage, paired with proprietary AI script-analysis and text-to-animation software. The model is two engines: an in-house theatrical slate of two ₦1B+ films per year, and B2B rental of the stage to Nollywood studios who today ship high-end VFX abroad. We are pre-seed, pre-facility, with three concept films prepared and scheduled. I want to be direct about what is proven and what is not: no revenue, no signed rental contracts, no disclosed funding. What we do have is a clear structural gap in the market, a credible demand signal, and a plan. I will walk you through the opportunity, the problem, our solution, the moat we intend to build, and exactly what we are asking for.
01
Chapter 01
Opportunity
The world's most prolific film industry has no real-time VFX stage
Concept footage, made in webfaCe Studio
Chapter one: the opportunity. Nollywood is one of the world's most prolific film industries by volume. That volume is the credible anchor for everything that follows — not revenue, not market size, which we will be honest is unestablished.
Opportunity
Nollywood's all-time box office ceiling is ₦2.76B
The highest-grossing Nigerian film ever topped out at ₦2,760,111,506 — a ceiling set by production value, not audience appetite.
₦2,760,111,506
Highest-grossing Nigerian film, 'Behind the Scenes' (2025)
~2,500
Feature and TV productions a year
Nollywood
35%
Of Nigerian film and TV stakeholders already use AI
+35% considering
~15%
Of Nollywood films where AI assists editing or casting
virtual premieres +200% in 2023
Source: Wikipedia — List of highest-grossing Nigerian films; DLA Piper Africa 2025; WorldMetrics
Start with the ceiling. The highest-grossing Nigerian film ever, 'Behind the Scenes' in 2025, made ₦2,760,111,506 — Nigerian cinemas only, not inflation-adjusted. That is the top of the market. For context, that is the ceiling a producer is aiming at. Meanwhile Nollywood produces roughly 2,500 feature and TV productions a year — one of the most prolific industries on earth. So we have enormous volume and a low revenue ceiling. That gap is a production-value gap, not an audience gap. And the demand for the missing capability is already visible: 35% of Nigerian film and TV stakeholders already use AI, and another 35% are considering it. AI assists editing or casting in about 15% of Nollywood films, and virtual premieres rose 200% in 2023. The appetite is there. The infrastructure is not.
02
Chapter 02
Problem
Every high-end shot is outsourced abroad — slow, expensive, FX-exposed
Filmed
After
A phone clip, changed in webfaCe Studio
Chapter two: the problem. Why is the ceiling so low? Because the capability to make high-end images does not exist in-country.
Problem
Producers must ship high-end VFX abroad or settle for lower fidelity
Nigeria has no world-class real-time VFX or virtual production infrastructure in-country.
01
The outsourcing tax
High-end VFX goes to foreign houses — slow, expensive, and exposed to FX. Every high-value shot leaves the country.
02
The fidelity compromise
Producers who stay local settle for practical effects and post houses with no real-time virtual production capability at scale.
03
The demand is already here
35% of Nigerian film/TV stakeholders use AI today; another 35% are considering it. The capability gap is the constraint, not willingness.
Source: DLA Piper Africa — AI in Nigeria Film and TV (2025)
The problem is structural. If you are a Nigerian producer and you want a high-end VFX shot, you have two options. Option one: ship the plates to a foreign house. That is slow, expensive, and priced in foreign currency, so you carry FX risk on top of the VFX cost. Option two: stay local and settle for lower-fidelity practical effects or a post house without real-time capability. Neither gets you to the production value that a modern theatrical audience now expects. And this is not because nobody wants it. 35% of Nigerian film and TV stakeholders already use AI in their workflow, and another 35% are considering adoption. The demand signal is real. What is missing is the infrastructure — a stage in Lagos that can light and composite in real time, on set, in naira.
03
Chapter 03
Solution
One facility, two software layers, two revenue engines
Concept footage, made in webfaCe Studio
Chapter three: the solution. What we are actually building, and how it monetises twice.
Solution
A Lagos virtual production stage running Unreal Engine in real time
Shot and finished in-studio instead of shipping plates abroad — with proprietary AI tooling compressing pre-production and post.
01 Green-screen stage with real-time Unreal Engine VFX and in-camera compositing — the first of its kind in Lagos 02 Proprietary script-analysis software scores and structures scripts before shoot to cut re-shoots 03 Text-based animation/VFX software generates and iterates effects shots in-house
Concept footage, made in webfaCe Studio
Here is what we build. A green-screen virtual production facility in Lagos running Unreal Engine in real time, so scenes are lit and composited on set rather than shipped abroad. On top of the stage sit two proprietary software layers. First, movie analysis and script generation: it scores and structures a script before the shoot, which is where re-shoots — the most expensive failure mode in film — get designed out. Second, text-based animation and VFX: it generates and iterates effects shots in-house, which is exactly the work that currently leaves the country. The facility monetises twice. Once through our own theatrical slate, which is B2C. Once through capacity rental to Nollywood studios, which is B2B. No Nigerian studio currently offers real-time virtual production at scale. That is the claim we are making, and we will show you the competitive picture shortly.
Product
One facility, two software layers, two revenue engines
The stage is the asset; the software is the moat; the slate and the rental are the revenue.
01
Unreal Engine virtual production stage
Green-screen stage with real-time VFX and in-camera compositing — the first of its kind in Lagos.
02
Script-analysis and generation software
Proprietary tooling that analyses and structures scripts pre-production to reduce re-shoots.
03
Text-based animation and VFX software
Proprietary text-driven animation and effects generation for in-house and rental clients.
04
B2B facility rental
Capacity rental to Nigerian studios that cannot afford foreign VFX pipelines.
05
In-house theatrical slate
Two original feature films per year targeting ₦1B+ domestic box office each.
Five components, and it is worth being precise about which is which. The stage is the physical asset — the green screen, the real-time render, the in-camera compositing. The two software layers are the moat: script analysis and generation, and text-based animation and VFX. Those are proprietary and they are what make the stage more productive than a bare volume. Then the two revenue engines. B2B facility rental to Nigerian studios who today cannot afford a foreign VFX pipeline. And the in-house theatrical slate: two original feature films per year, each targeting ₦1B+ domestic box office. I want to flag clearly: the software is a company claim and has not yet been demonstrated to you. We will address that in the traction section. The status today is concept — the facility is to be built, and three concept films — an epic disaster, an action horror, and an airplane-based disaster — are prepared and scheduled.
04
Chapter 04
Moat
First mover in Lagos, with AI tooling and a local cinematic voice
Concept footage, made in webfaCe Studio
Chapter four: the moat. Who is actually competing with us, and why the position is defensible.
Competition
No Lagos virtual production competitor at scale — the incumbent is outsourced foreign VFX
The real competitor is not a local studio. It is the foreign VFX house that currently takes the spend.
Us vs. the alternatives
Axis Us Them Real-time virtual production in Lagos Yes — first facility None at scale Proprietary AI script/animation tooling Claimed, unverified Not offered Regional benchmark Lagos-local, Nollywood-native Triggerfish (Cape Town) — Africa's most internationally acclaimed studio High-end VFX cost/speed for Nigerian producers Local, in-studio Foreign VFX houses — costly and slow Low-end price competition Premium fidelity Local practical-effects/post houses — no real-time capability
Source: Vitrina — Top VFX Companies in Africa 2026
Let us be honest about the competitive set. There is no Lagos virtual production competitor at scale. The real incumbent is the foreign VFX house that currently takes the spend — that is the channel we are displacing. The regional benchmark is Triggerfish Animation Studios in Cape Town, Africa's most internationally acclaimed studio, with Netflix Africa originals and theatrical animated features. They are a talent and export competitor, not a direct Lagos facility competitor. At the low end, local practical-effects and post houses compete on price but have no real-time capability. Our positioning is first-mover in Lagos virtual production, differentiated by proprietary AI tooling and local cinematic scenes. The honest caveat: there is no Nigeria-specific competitor market-share data available, and our AI tooling is a claim that requires a demo and IP documentation.
Market
No Nigeria-specific TAM exists — our bottom-up estimate is ₦4B–₦20B/yr
All figures are ESTIMATES with low confidence and must be re-based with founder pipeline data.
₦4B–₦20B
TAM ESTIMATE per year — low confidence
₦1.5B–₦9B
SAM estimate per year
low confidence
₦0.5B–₦3B
SOM estimate by year three
low confidence
Source: ESTIMATE — bottom-up model in this document; 6Wresearch (no numeric CAGR disclosed)
I want to handle market size with unusual care, because this is where decks in our sector usually mislead. There is no publicly established Nigeria-specific TAM for virtual production or AI animation. 6Wresearch frames the Nigeria virtual production market as poised for significant growth from 2025 to 2031 but discloses no numeric CAGR. So we built bottom-up. Assume roughly 2,500 Nigerian feature and TV productions per year. Assume 10 to 20% could plausibly adopt virtual production at an average service ticket of ₦15M to ₦40M. That gives ₦3.75B to ₦20B a year, plus unquantified advertising and gaming demand. TAM estimate: ₦4B to ₦20B. SAM: 15 to 30 Lagos studios at 2 to 6 rentals a year, plus two in-house films at ₦1B+ target gross each — ₦1.5B to ₦9B. SOM by year three: ₦0.5B to ₦3B. Every one of those is low confidence. We are not going to dress an estimate as a fact.
Business Model
Two films a year at ₦1B+ each, plus rental at ₦15M–₦40M per production
Box office is the upside; rental is the recurring base; software licensing is optionality.
01
2 films/yr
>₦1B each
Theatrical box office
Two in-house features per year, each targeting >₦1B domestic.
02
₦15M–₦40M
per production (ESTIMATE)
Facility rental
Service rental of the virtual production stage to Nigerian studios.
03
Optionality
unpriced
Software licensing
Potential licensing of proprietary script and animation software.
Source: ESTIMATE — rental ticket unvalidated; no Nigeria pricing benchmark found
The business model has three streams. Theatrical box office from in-house features: two films a year, each targeting more than ₦1B domestic. Facility rental to Nigerian studios at an estimated ₦15M to ₦40M per production — and I want to be explicit that this ticket is unvalidated, there is no Nigeria pricing benchmark we could find. And potential licensing of the proprietary script and animation software, which we treat as optionality rather than a modelled line. On unit economics: there are no Nigeria- or sector-specific CAC, LTV, or gross-margin benchmarks, and we are not going to apply SaaS benchmarks to Nollywood as if they were the same business. One policy point that matters for the model: profits above ₦1B are reinvested into advanced computing hardware to raise throughput. And the intended exit is an NGX listing in year one — which, as I will say plainly later, is unverified against our pre-revenue status.
Traction
Pre-revenue, pre-facility: three concept films prepared and scheduled
We are telling you exactly what is and is not proven.
₦0
Revenue to date — pre-revenue
3
Concept films prepared
scheduled
0
Signed rental contracts
none
Not disclosed
Funding raised
none disclosed
Source: Company disclosure — pre-revenue, concept stage
This is the slide most decks hide. We are pre-revenue. Revenue to date is ₦0. We have three concept films prepared and scheduled: an epic disaster, an action horror, and an airplane-based disaster. We have zero signed rental contracts. We have not disclosed funding raised. The proprietary script-analysis and text-based animation software is claimed but not yet demonstrated to you. The validation gaps are real: no disclosed funding, partnerships, or signed rental contracts; no consumer willingness-to-pay data found; no Nigeria-specific competitive market-share data found. What we are asking you to underwrite is not traction. It is a structural gap, a first-mover position, and a team that can execute — and the team slide is where we need to be candid as well.
Team
The founding team must be supplied before this deck goes to market
Team details were not provided in the source material.
01 Founding team credentials are not yet documented in this deck 02 This is a blocking gap for a seed raise — investors underwrite people first 03 We will present full bios, prior production credits, and technical ownership of the AI tooling
I am going to be direct here rather than paper over it. The founding team details are not in this deck. For a seed round that is a blocking gap — investors underwrite people before they underwrite spreadsheets, and rightly so. What we will bring to the next meeting is full bios, prior production credits in Nollywood and elsewhere, and documented technical ownership of the script-analysis and text-based animation software. If the software is genuinely proprietary, we need to show the IP assignment and a working demo. We would rather flag that now than have it surface in diligence.
Roadmap
Build the stage, release two films a year, scale rental, reinvest
Year one is facility and software; everything after compounds.
Year 1 Build virtual production facility and deploy proprietary software Year 1 Pursue NGX listing for investor exit (eligibility unverified) Ongoing Release two films per year at >₦1B each Ongoing Scale B2B service rental Ongoing Reinvest profits above ₦1B into advanced computing hardware
The plan is deliberately simple. Year one: build the virtual production facility and deploy the proprietary software. Also in year one, pursue an NGX listing to provide investor exit — and I will flag again that eligibility is unverified against pre-revenue status, and the NGX rulebook was not in our research set. Ongoing from there: release two films per year at more than ₦1B each, scale B2B service rental, and reinvest profits above ₦1B into advanced computing hardware to raise throughput. The sequencing matters. The stage has to exist before either revenue engine turns. That is why the facility build is the single gating milestone, and why the ask is structured around it.
05
Chapter 05
Ask
Capital to build the stage and fund the first two films to release
Concept footage, made in webfaCe Studio
Chapter five: the ask. What we need, what it buys, and what we are asking you to decide.
Ask
We are raising to build the facility and fund the first two films to release
Amount to be stated by founders — the source material does not specify total capital required.
01
Facility build-out
The gating milestone: the Lagos Unreal Engine virtual production stage.
02
Advanced computing hardware
Real-time rendering capacity — the throughput constraint on both revenue engines.
03
First film slate
Production of the first films to release, targeting >₦1B domestic each.
Source: WorldMetrics (secondary aggregator; underlying dataset to be checked) (https://worldmetrics.org/nollywood-industry-statistics/)
The ask. Use of funds is three lines: virtual production facility build-out, advanced computing hardware, and production of the first film slate. Targeted runway is 24 months. The total amount is not specified in our source material — the founders must state the total capital required to build the facility and fund the first two films to release, and I am not going to invent a number in front of you. The open question we are putting on the table ourselves: what is the total capital required, and what is the credible path to a year-one NGX listing given pre-revenue status? We would rather name that tension than have you find it.
Closing
Fund the first real-time stage in Lagos — and own the ceiling
We are asking for a seed commitment to build the facility and put two films into production.
01 Commit capital to the facility build and first slate 02 Set a diligence milestone: working software demo and IP documentation 03 Agree the total raise figure and NGX path with us in the next session
Concept footage, made in webfaCe Studio
To close. Nollywood is one of the world's most prolific film industries and its all-time box office ceiling is ₦2,760,111,506 — set by production value, not audience appetite. The reason is simple: there is no real-time virtual production stage in Lagos, so every high-end shot leaves the country. We are building that stage, with proprietary AI tooling on top, and monetising it twice — our own two films a year at ₦1B+ each, and rental to the studios who currently outsource. What we are asking for today is a seed commitment to build the facility and put two films into production. Three concrete next steps: commit capital to the facility build and first slate; set a diligence milestone for a working software demo and IP documentation; and agree the total raise figure and the NGX path with us in the next session. We are pre-revenue and we have told you so. The gap is real, the position is first, and we are asking you to fund it.
01 Pitch deck · Lagos Virtual Production Studio Technology 02 Chapter 01 Opportunity 03 Opportunity Nollywood's all-time box office ceiling is ₦2.76B 04 Chapter 02 Problem 05 Problem Producers must ship high-end VFX abroad or settle for lower fidelity 06 Chapter 03 Solution 07 Solution A Lagos virtual production stage running Unreal Engine in real time 08 Product One facility, two software layers, two revenue engines 09 Chapter 04 Moat 10 Competition No Lagos virtual production competitor at scale — the incumbent is outsourced foreign VFX 11 Market No Nigeria-specific TAM exists — our bottom-up estimate is ₦4B–₦20B/yr 12 Business Model Two films a year at ₦1B+ each, plus rental at ₦15M–₦40M per production 13 Traction Pre-revenue, pre-facility: three concept films prepared and scheduled 14 Team The founding team must be supplied before this deck goes to market 15 Roadmap Build the stage, release two films a year, scale rental, reinvest 16 Chapter 05 Ask 17 Ask We are raising to build the facility and fund the first two films to release 18 Closing Fund the first real-time stage in Lagos — and own the ceiling
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