The Lightning Code is a new feature from director Kali Bailey and the team at Evolve Studios in Nashville, TN. The sci-fi film focuses on teenage inventor Miles Fletcher (Andrew Reid), who is inspired by the work of Nikola Tesla and the unfinished work of his mom, who disappeared while trying to unlock the secret to limitless energy. His mom's former employer, Luxos Energy, becomes aware of Miles' work and sets out to capitalize on his achievement while setting up a larger plan that will affect the entire world.
In addition to Andrew Reid, the film also stars Bruce Davison, Rose Reid, K.C. Clyde, René Ashton, Neil Kelly and Sienna Ribeiro. Beyond its theatrical distribution, The Lightning Code will begin streaming on the Angel app, and on angel.com beginning June 10th.
Evolve Studios' (https://evolve.studio) Joel Edwards (pictured) was a producer on the project, as well as a cinematographer, and even had a small on-camera role. Here, he talks exclusively with Post about how his facility partnered with Vu Studios to employ virtual production to overcome budget restrictions while still achieving cinematic results.
Joel, tell us a little about your background and Evolve Studios.
“The vision for Evolve came out of my early years in the TV industry, particularly while working in sports television. I climbed the ranks in live sports TV and was part of some of the original sports documentaries like 30 for 30 and E:60. As I grew as a producer, cinematographer, and editor, I realized I’m a storyteller. I love using all the tools and techniques of filmmaking to craft powerful, impactful stories. And that includes everything from production to post — the entire
ecosystem. We started working with National Geographic and other major cable networks, and as Evolve grew, our goal was to have complete control over the entire process by doing everything in-house. Having our own team and workflow is what made our product distinct. We were even hired by Nat Geo to tell the story of the next generation of National Geographic Explorers.”
Does Evolve have production and post facilities?
“Yes! We have brick-and-mortar production and post facilities in-house — a full camera department, a small stage within our offices, and a complete post-production setup under the same roof. For The Lightning Code, we partnered with Vu Studios and used their LED volume stage. That was a strategic collaboration, but for the most part, everything at Evolve happens under one roof. That’s always been part of how we aim to tell the most powerful stories.”
You mentioned the ESPN work. Have you done much long-form content?
“This is our third scripted feature film. We've also produced countless shows and documentaries over the years. But this project is special because we developed it from script to screen. We were deeply involved in writing, fundraising, and production. It was all executed in-house, with our own team and partner network. It’s also our first foray into sci-fi — our first genre-based fiction film. The story is ambitious. It could easily be a $50 million studio film.”
Tesla really tried to harness energy from the atmosphere. So this story isn’t as far-fetched
as it might sound?
“The film is actually grounded in a lot of historical inspiration. Tesla did attempt to pull energy from the ionosphere, and that’s well-documented. When we wrote the script, we tried to stay close to real history and facts. Of course, we had to create some fictional science and terminology, but Tesla’s obsession with the numbers 3, 6, and 9 — which he believed held the key to the universe — played a central role in the script. So there’s a foundation in truth.”
Knowing the visual effects needs of the film, how did you decide to go with virtual
production rather than traditional blue screen?
“That decision really started when LED volume technology hit the scene. I remember watching The Mandalorian and thinking, ‘That’s going to change the game.’ At Evolve, we’ve always pushed the envelope with post-production — even early on, we were using advanced tracking and visual effects techniques that most people in unscripted TV weren’t using. So when LED volume stages became viable, I was convinced it would revolutionize the way we work. Of course, the big question is always: can it be affordable?
"Usually, the most impressive technology is the most expensive. But we work a lot in the mid-tier budget range, so we’re constantly thinking about value and efficiency. From the beginning, I believed there had to be a way to do virtual production that didn’t cost more — a way to actually save money while improving what ends up on screen. That’s what motivated us. If I can shoot five scenes in one day, all under the same roof, that’s a game-changer.”
Was the choice to go virtual also driven by the types of locations the story required?
“Exactly. We needed several environments that were impossible to find or build practically — spaces that just don’t exist in the real world. That’s where the story dictated the need for virtual production. Then you add the logistical realities: limited days with talent, crew, and resources. We had to get as much done as possible in a short window.”
So I imagine the film wasn’t shot in chronological order, and you grouped all the virtual
production into a tight schedule?
“One hundred percent. We were shooting in environments that don’t physically exist, and constructing those sets for real would have been incredibly expensive. On top of that, we needed to minimize shoot days due to budget constraints. So it made perfect sense. And we were also fortunate — Vu Studios had just opened a new LED volume stage in Nashville, and The Lightning Code was the first feature film shot there.”
How did it affect your workflow? Obviously, you are capturing a lot in-camera, but those environments need to be created in advance. Did Evolve or Vu handled the visuals?
“It's our team. My senior visual effects artist and designer, Ryan Trommer, who's been with me from the very beginning, even before we moved to Nashville, was lead on all of those builds. And then there's a team, but it's a small team. It's a very small team. From our side, it was only two artists. And then on their side, operating the stage…it was only two or three people. It sounds crazy, but five or six people.”
How long was the overall film’s shoot and how much time did you spend on the LED stage?
“We were only in the volume for a few days. The overall film, I think we had 28 days of principle…And then we did a bunch of inserts as well. We had several reshoots and several other things. But it was somewhere in that month."
Had you worked with virtual production before this project?
“This was Evolve’s first narrative feature using virtual production. We’d done shorter-form content — commercials and branded work — but this was our first full-length execution.”
How did it affect your workflow, especially since the environments need to be built in
advance? Who handled the visuals — Evolve or Vu?
“It was all done by our team. My senior VFX artist and designer, Ryan Trommer — who’s been with me since before we moved to Nashville — led all the environment builds. He had one other artist supporting him. It was a small team. On Vu’s side, they had only two or three people operating the stage. It might sound crazy, but the whole virtual production setup was run by about five or six people total.”
Was there still additional post-production work on the VFX?
“Totally! When you watch the film, you’ll see — there are over 600 VFX shots. It was a major lift. We partnered and co-produced the film with Tower33, a VFX powerhouse. Their collaboration made it possible. You can’t tell a story about Tesla and perpetual energy without showing it. It’s a bold, ambitious story — especially for an indie budget.”
What have you learned from this process, and how is it changing your approach going
forward?
“What I’m really excited about — and what we’re doing with The Lightning Code and several other projects — is continuing to hack efficiency and value. It’s not about spending less or hiring fewer people. It’s about solving a creative equation within real-world constraints: budget, time, scope. The goal is always great quality. So how do you do more with less? Use technology to be more productive, more creative, more efficient — to keep quality high while cutting costs dramatically. Because in this industry, we’re not seeing budgets or timelines getting bigger. Quite the opposite.”
What’s next for Evolve? Are you focusing on shorter-form work while prepping the next
long-form project?
“Exactly. There’s always a steady lineup of client work — production, post services, branded content. We partner with other production companies and do a lot of unscripted content, especially in the sports world. Evolve is built to deliver high-quality work efficiently. So we keep a consistent flow of services and partnerships going while also taking our shots with original IP.”