Beyond Virtual Production brings together a range of creative practice research projects that have been undertaken in The Void, an early-adopter university-based virtual production studio at Flinders University in South Australia.
From a cross-disciplinary short virtual production film, to a VR simulation of the last 100 seconds of life of earth, to the live performance of the virtual band Big Sands, to augmented and extended reality, to archaeological projects, this collection captures the potential applications of virtual production technology and provides a framework for cross-disciplinary work and industry collaborations both in a university context and beyond. It offers insight into the development of virtual production courses and encompasses research into theories of performance, liveness, methods for co-creation, gender in virtual production careers, and object digitization and its representation while highlighting significant pathways of industry partnerships alongside experimental art practices.
Creative technology and interdisciplinary practitioners, researchers, students, and teachers will find inspiration and practical guidance in these chapters.
The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.
Table of Contents:
Introduction 1 From Virtual Production to 'Integrated Production Technologies': The Development of The Void 2 Life Savings: An Interdisciplinary Short Film Collaboration 3 Digital Media Frontiers in Teaching and Learning: Using The Void as a Space for Student and Staff Skills Acquisition, Collaboration, and Teambuilding 4 From an Unreal World to an Integrated One 5 The Beginnings of Big Sand Live: Real-time Virtual Performance in a Physical Venue 6 The Line Where Red Meets Blue: Big Sand Pioneers New Approach to Live Metaverse Performance Using Virtual Production 7 Gender Diversity in Art and Technology: A Conversation in The Void 8 Explorations in Motion Capture and Digital Art 9 Interview with Rosina Possingham 10 Interview with Tiffany Knight 11 Deeper not Broader: In Pursuit of an Actor Training Language to Elicit Nuance and Complexity in Motion Capture Performance 12 The Role of Educational Environments in Influencing the Experience of Women and Gender Diverse People in the Virtual Production Sector 13 Derrida in Practice: The Possibilities of Theory in The Void 14 Photogrammetry and Geophysics for Archaeological and Historical Research Using Immersive Environments: The Case of Martindale Hall 15 SONNY: The Unreal Affordances of Real-Time Game Engine Technologies for Screen Production 16 A Game of Rhetoric: Creating an Interactive Plato’s Cave with Performers and AI in The Void
About the Author :
Tully Barnett is Associate Professor of Creative Industries at Flinders University in South Australia, where she serves as Director of Assemblage Centre for Creative Arts. As an interdisciplinary scholar, her research considers digitisation and its impact on cultural experience and cultural work, as well as cultural policy and value.
Jason Bevan is a Senior Lecturer in Visual Effects and Entertainment Design at Flinders University, a Senior Fellow of the Higher Education Academy and practitioner in Visual Effects, Postproduction, Animation, Virtual Production and Film-related projects.
Cameron Mackness is a cinematographer/editor/director. In 2020 he co-founded The Void – Flinders’ Motion Capture and Virtual Production Studio. Cameron is now the Digital Business Developer for the Void and an expert in all thing Motion Capture and Virtual Production.
Zoë Wallin is a research assistant at Flinders University. She has published research on the industrial operations of the film Hollywood industry and is the author of Classical Hollywood Film Cycles.
