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DNeg was tasked with creating the majority of Visual effects for Bullet Train.
Including The LED screen background imagery that finds itself in the odd undefined grey area between special and visual effects, being CG backgrounds that weren't created in postproduction but rather captured "In Camera" during principal photography.

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The design of the train was based on existing Bullet Train models.
There were 3 full train cars built to be used for principal photography and as a standin for stunts and performances outside the train, but it was always planned that the exterior shots would be replaced with the digital model because the body of the train had to reflect everything in the digital environment around it.
Bullet trains or "Shinkansen" are kept meticulously clean, but unfortunately, a "meticulously clean" digital asset just doesn't look real, so Dneg had to take extra care to add fine details such as surface scratches to the panel seams, screws, and panel bends in order to add that lacking layer of realism.
The LED Volume that surrounded the train consisted of two large 30.5m long and 5m tall LED walls on each side of the train car, with two smaller 2.5m by 5m walls at each end of the train, making it a total of six screens.

This only provided enough LED wall to cover the length of one car (and there were a total of three built for the project) so Lux Machina came up with a solution by suspending the entire setup from a track and dolly system to help it move along the length of the train depending on which car was needed for shooting.

While there were gaps in the walls at the ends, to allow them to move trains and screens independently of each other and for stage access, those gaps were generally out of sight of the camera.
DNEG's background content was delivered to the screens through a "Disguise" playback system provided and operated by Lux Machina. The Train's backgrounds were split between daytime and nighttime sequences.
The LED walls worked perfectly for night, tunnel, dawn, and lowlight areas of the journey. However, for daytime scenes the amount of light the LED screens could put out just wasn't enough, so for the daytime scenes, the LED walls were switched to display bluescreen or greenscreen that could be replaced with CG environments later in post.
There were a variety of techniques used to create the background content for the LED walls.
To start with, plates were filmed throughout Japan.
Unfortunately, you can’t just stick a camera array rig onto a Shinkansen train and start filming, so instead they filmed with a rig on top of a van on long stretches of Japanese highway.
But the highways are a lot bumpier and slower than the 300km/h Bullet Train is, so they had to spend a considerable amount of time stabilizing these plates and retiming them to be 5 or 6 times faster than those they originally filmed.
These plates also gave them a great reference for lighting, colour, detail that they could then use for their CG content.
Bullet Train is quite a stylized film so the background footage couldn't just be what they shot on the highway. There were moments where the director wanted to go through a city and have the streets flooded with red or blue lights or have another train passing by or lots of signage.
Environment artists built out city streets with a variety of architecture that is unique to Japan, as well as street dressing, signage, rivers, bridges, and parks.
Train tracks with fences, and overhead rail and cable structures were added to give the rhythmic repetition and sense of speed that you get when traveling at 300km/h.
For displaying the content, they needed one solution that would work with all the variety of content from arrays to CG environments.

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