Worre Studios, Answered

The facility runs 25,000 square feet, built as a stage in the round rather than a rectangular box. The 360° LED volume sits at the center, with the control room, media village, dining and support spaces wrapped around it. Full specifications live on the technology page.

In-room capacity is 350 seated, 500 standing, or 600 for a concert setup. Half the 360° wall rolls back on a track system to open the floor for a live audience, so the seated footprint changes with the configuration you choose.

It opens. The volume is built from four curved walls, and half the structure sits on a track system that pulls back. Closed, you get full wraparound immersion. Open, you get a stage with an audience in front of it and the wall behind.

Yes. Teams have built eight to ten separate environments for a single production here, including game show and wedding builds so complete that guests asked where they were. One three-ton steel set piece was fabricated in Texas, shipped in and hung from a custom grid above the house grid. The set build story covers how.

Both. The same room hosts purely in-person events, hybrid events and virtual-only broadcasts. What changes is how much of the interactive side you switch on. Event formats breaks down the differences between the three.

Product launches, keynote conferences, a televised gubernatorial debate, fashion week, film and television production, faith broadcasts, concerts with live band and choir, watch parties, weddings and a full game show. The gallery shows how differently one room can read.

Yes. Three granted United States patents cover it. Utility patents 11,431,920 and 11,996,012 protect the studio system, including the opposing curved screen geometry, circular truss structures and 360° audio arrangement. Design patent D1,013,208 covers the ornamental screen configuration. Details sit on the patents page.

The studio sits at 7175 S Belcastro Street in southwest Las Vegas, just off the 215 Beltway. Off-Strip means direct truck load-in at the door, fast airport access and none of the access constraints that come with operating inside a casino property. See location and directions.

UE5 renders the environments on the wall in real time, running on a custom-built system. Scenes, reveals and complete environment changes are pre-built and blended in advance, then triggered live during the show. The result is a set that can change instantly. More in Unreal Engine for live events.

A producer, from an iPad. Scene changes, reveals and full environment swaps are triggered by touch, with no code written during the show and no engineer at a keyboard. Everything is built and blended before doors open.

Yes, and it is the reason to build it this way. A keynote can open in one world, drop into a product environment for a reveal, and land somewhere else for the close, with each change cued like any other show element.

CANVAS is part of the custom-built system that drives the 360° surface alongside the UE5 pipeline, licensed to the studio under a five-year term. It sits in the layer between finished content and the four walls, so the surface behaves as one continuous display.

Plan on months for a fully custom Unreal environment rendered from scratch, because it is built like a game environment rather than a slide. Lighter builds, brand treatments and blended pre-built scenes move much faster. Lead time gets scoped on the first needs call.

Yes. Teams regularly arrive with finished motion graphics, video packages and Unreal assets. Our team handles mapping it across the four curved walls so it reads as one continuous surface rather than four separate screens.

The infrastructure carries redundancy where it counts. The control room runs two AJA Bridge Live units, so the outbound signal has a backup path rather than a single point of failure. The chain is built to the standard the room already delivers for live television.

Total hybrid and virtual attendance runs to 500,000 or more, which is the official maximum reach. The count covers everyone attending and watching, and it sits separate from interactive capacity below. More in hybrid event reach.

Interactive capacity is 150,000. It is the maximum number who can be inside the live participating experience at the same time, with the branded dashboard, breakout rooms and the ability to be pulled live on stage. Total attendance can run higher than interactive capacity.

Remote attendees are participants, not viewers. They can be brought live and face to face with the host in real time, join breakout rooms, buy, download and be segmented into groups. A stream sends one direction. An interactive broadcast runs both. See interactive broadcast explained.

Every event gets its own dashboard, built for that event and branded as yours. Attendees experience your brand rather than a third-party platform. Breakout rooms, multiple shopping carts, audience segmentation and custom capabilities are built into it rather than bolted on.

Yes. The dashboard supports multiple shopping carts inside a single event, so different offers can run to different segments at different moments. The broadcast becomes a revenue surface instead of a cost line.

Yes. Gated downloads, registration data and in-event actions all flow through the dashboard, which makes a virtual audience measurable in a way a room full of people never is. You leave the event knowing who showed up, what they opened and what they bought.

Yes. Segmentation is built in. Audiences can be routed by region, language, ticket tier, team or anything else you define, then sent into breakout rooms or served different content inside the same event.

Zoom Enterprise provides the plumbing, with roughly 500 licenses stitched together to reach the numbers above. The platform is not the product. What you book is the interactive layer, the branded dashboard and the room driving both. Why it is not a webinar covers the distinction.

On the wall. Up to 2,744 live guest feeds display at once, wrapping around the speaker. Latency is engineered for genuine conversation rather than satellite-style delay, which the virtual events page goes into further.

More than 50 workstations and interactive stations inside the facility, staffed during large events. It is where the virtual side is run, monitored and moderated, and it is why a six-figure interactive event is a production rather than a host clicking admit.

An introduction call, then a virtual walkthrough, then an in-person site visit when you are ready. Exploratory needs calls define scope, crew, power and custom builds. A custom quote follows, then a contract, and crew is booked on signing. Start at book the studio.

You work directly with the production team through weekly or biweekly meetings right up to event day, whether that is two weeks out or ninety days out. Most venues hand over keys and wave. Here a dedicated team stays with you the whole way in.

Because nothing here is a fixed package. Pricing is à la carte, built from the room plus exactly the crew, gear, interactive layer and custom build your event needs. Two events in the same room can be very different numbers, so a published rate would mislead more people than it helped.

Renting comparable LED walls into a ballroom runs roughly $300,000 to $500,000 for the walls alone, before crew, audio, lighting, rigging or the room itself. Raw venues quote the empty space and charge everything else as a plus. Here it is already standing. See studio versus convention center.

Teams who priced the ballroom route and came back have told us it landed higher than the original studio quote once every plus line was added. Most buyers learn it by pricing both. We will help you build that comparison honestly rather than ask you to take it on faith. Our cost breakdown lays out the lines.

It depends on the build. A straightforward booking can come together in weeks. A fully custom Unreal environment needs months. The first needs call sorts out which one you are, and lead-up support runs from contract to show day either way. Before you book covers what to have ready.

Yes, and we would rather you did. Virtual walkthroughs happen early and in-person site visits are the step that settles most decisions. The room does not photograph the way it feels standing inside it.

A real member of the team replies, typically the same business day. From there it is an intro call and a virtual walkthrough to learn the event before anything gets quoted. No automated sequence and no sales queue. You can also reach us directly.

Yes. Enterprise clients run recurring flagship events here, including one that regularly brings roughly 7,000 people in person alongside 10,000 to 20,000 remote. Repeat builds move faster each cycle because the environments and workflows already exist.

Direct load-in at the building, with garage door truck access straight to the floor. There is no loading dock queue, no service elevator and no shared freight corridor to schedule around, which is the detail touring production managers notice first.

Harry Reid International is the main gateway and Henderson Executive handles private aviation. Both sit a short drive from the studio. Our airport guide covers approximate drive times and which one suits talent, crew or freight.

On-site parking serves standard events. Larger events use off-site parking with shuttle service, which we have run for 400 cars and more. Parking plans are built into the scope rather than left to the day.

Yes. Room blocks are sourced through us at Mandalay Bay, which extends across most MGM properties, and across Station Casinos properties including Red Rock Resort, Durango and Green Valley Ranch. One point of contact instead of a hotel sales cycle. See hotels near the studio.

It is the trade most planners want once they think it through. Guests are not wandering onto a casino floor mid-session, so attention stays in the room. Room blocks plus transport cover the hotel side. Our take is in choosing a venue without attached rooms.

Buses, limos, cars and charters are sourced through us, including talent transport, with shuttles scheduled around your run of show. Transportation options near the studio are covered in more depth.

Yes. Power trucks and generators, star wagons, wardrobe and production trailers, extra rigging, and city permits for parking and loading are sourced through us. A production that would normally need a local fixer does not need one here. See Las Vegas logistics.

Yes. Executive dining, craft services and food trucks are all available, buffet or served, in house or through our network. One fewer vendor for your team to manage, and nobody leaves the building to eat.

Possibly, depending on the production. We are connected with the Las Vegas Film Office for tax incentives and credits and can point you at the right conversation early, while it still affects how you structure the shoot.

Through INCREDEVENT, the ticketing and registration platform built into the operation. Registration, ticketing, the interactive dashboard and the broadcast all sit under one roof, which removes the usual seams between a ticketing vendor and a production vendor. Ticket pricing for hybrid events goes further.