1st Edition

Beyond Virtual Production Integrating Production Technologies

    216 Pages 28 B/W Illustrations
    by Focal Press

    216 Pages 28 B/W Illustrations
    by Focal Press

    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.

    Introduction, Tully Barnett, Jason Bevan, Cameron Mackness and Zoë Wallin 1 From Virtual Production to 'Integrated Production Technologies': The Development of The Void, Jason Bevan and Cameron Mackness 2   Life Savings: An Interdisciplinary Short Film Collaboration, Shane Bevin, Helen Carter, Katie Cavanagh, Nicholas Godfrey, Sarah Peters, Sean Williams, and Tom Young 3   Digital Media Frontiers in Teaching and Learning: Using The Void as a Space for Student and Staff Skills Acquisition, Collaboration, and Teambuilding, Shane Bevin and Katie Cavanagh 4 From an Unreal World to an Integrated One, Jason Bevan and Cameron Mackness 5 The Beginnings of Big Sand Live: Real-time Virtual Performance in a Physical Venue, Sally Coleman 6 The Line Where Red Meets Blue: Big Sand Pioneers New Approach to Live Metaverse Performance Using Virtual Production, L. Nicol Cabe 7   Gender Diversity in Art and Technology: A Conversation in The Void, Sasha Grbich 8   Explorations in Motion Capture and Digital Art, Liam Somerville 9   Interview with Rosina Possingham, Rosina Possingham and Tully Barnett 10   Interview with Tiffany Knight, Tiffany Knight and Zoë Wallin 11   Deeper not Broader: In Pursuit of an Actor Training Language to Elicit Nuance and Complexity in Motion Capture Performance, Renato Musolino 12 The Role of Educational Environments in Influencing the Experience of Women and Gender Diverse People in the Virtual Production Sector, Julia Erhart, Kath Dooley, and Tully Barnett 13 Derrida in Practice: The Possibilities of Theory in The Void, Amy T. Matthews, Kendrea Rhodes, Melanie Ross, Kathleen Stanley, and Thomas Stark 14 Photogrammetry and Geophysics for Archaeological and Historical Research Using Immersive Environments: The Case of Martindale Hall, Jarrad Kowlessar, Tully Barnett, Anna M. Kotarba-Morley, Heather Burke, Ian Moffat, and Penny Edmonds 15   SONNY: The Unreal Affordances of Real-Time Game Engine Technologies for Screen Production, Kristen Coleman 16 A Game of Rhetoric: Creating an Interactive Plato’s Cave with Performers and AI in The Void, Lauren Woolbright



    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.