The studio is a square room painted white. There are no corners and the floor curves up into the walls smoothly to eliminate shadows. A floor-to-ceiling green curtain hangs on one wall but it's not enough for REVELATIONS' needs.

Cameras and equipment accumulate at the "back" of the studio. There's hardware in the ceiling for rigging lights and cameras.

The largest pieces of greenscreen paper are used first for maximum efficiency. The paper needs to be as smooth as possible to eliminate shadows.

Going around corners takes planning and teamwork -- the paper is heavy and stiff.

The wall-to-floor curve is also tricky. It becomes a giant jigsaw puzzle, held together by greenscreen tape.

Lighting can come from any direction, even straight down.

Shane and Jack go over the storyboards for the scene, deciding how to best achieve the shots. Storyboards are sketches or computer generated images that show the camera angles the director wants. They can also help keep in mind the special effects elements that will be added in later.

The storyboard lets Shane and Jack compare the planned scene to what the camera is recording.

It's an outdoor scene so Patrick stands by, ready to man the fan. Practical effects like wind increase the reality of a scene filled with computer generated elements.

Holland, who's in-studio for some promotional shots, works another practical element. In the scene, a door opens and yellowish light spills out. As the camera rolls, Holland draws a board across the light, creating the effect on the actors.

While the final touches are completed in the studio, Frank and Gina get into costume. Frank plays Prince Charming but Gina's no Cinderella -- until she realizes that the reason the boots don't fit is because they're Holland's, not Gina's. Gina's boots are found and all is well.

The scene is shot from two different angles, the side and face-on, so Gina and Holland hurry up and wait between set-ups.

Everything the camera sees will be green except for the actors. In the scene, they move along a narrow platform and descend a few steps, so a low riser is covered with greenscreen fabric. The steps themselves are not covered because they are below the camera's view.

Shane and Jack tweak the light placement one last time.

When Shane calls "Action!", Frank and Gina jump in place. This will help match up the action to footage shot months earlier. They reach the end of the platform and step down.

Here's what the camera sees in the side shot. You can see how the wind adds movement, blowing their hair and clothes back. You can also the lighting scheme -- the yellow door light is now hitting Frank while Gina is still in a red light.

One other pick-up shot is filmed -- Taryn walking down an alley. She's only filmed from behind as the reverse angle was shot months earlier. The blue light is set up to match the earlier shot.

When shooting is complete, the paper is carefully taken down and rolled up for another day.

Frank moves around the studio, touching up the white walls wherever tape or scuffmarks have damaged the paint.

And that's a wrap! .... We hope.