The theatre industry's current state of vendor lock and fragmented tools hinders the adoption of emerging technologies. However, awareness of the future, and its potential benefits, can drive positive change. In this section, we'll explore the impact of production visualisation on process, considering various role scenarios and their implications. --- #### Contents - [[#Dedicated Visualiser (Solo or Small Team)|Dedicated Visualiser (Solo or Small Team)]] - [[#In-House|In-House]] - [[#Freelance|Freelance]] - [[#Dedicated Visualiser (Solo or Small Team)#Further thoughts|Further thoughts]] - [[#Shared Visualization Duties Across Show's Production Team|Shared Visualization Duties Across Show's Production Team]] - [[#Outsourcing / Service Model|Outsourcing / Service Model]] - [[#Further Thoughts|Further Thoughts]] --- ## Dedicated Visualiser (Solo or Small Team) Recommended by Metcalfe. A dedicated production visualizer can serve as a crucial communications role, working closely with the stage management team, designers, and other stakeholders. Their primary responsibility, logically, would be to reflect the creative vision of the designers, rather than imposing their own. This role requires transparency and collaboration to avoid consolidating decision-making power. #### In-House Integrate seamlessly with existing CAD systems and workflows. Allows for tighter control and data management, and in-house teams can work alongside draughtsmen, as they are, across multiple productions at once. This could have a huge impact on organisational efficiency, especially as technology and platforms develop. In-house is likely the most cost-effective solution overall. Venues would need to ensure their in-house practitioners stay well on top of industry best practices, as tech and execution methods will be rapidly evolving. Their strength will be to see the wood for the trees, though - they may have their own particular valid approach or preferred platform. #### Freelance Freelance production visualisers, like those working with major institutions like National Theatre at present, can bring specialised expertise to specific productions, offering flexibility and specificity. Busy freelancers will have job access to a wide variety of shows and applications, like many in their position - but may be more likely to stick to tried-and-tested methods, and will be mindful of expenses of extremely high-end platforms. ### Further thoughts Dedicated visualisers, as have existed in other sectors for many years, represent a good first step for our industry This capability will be accelerated with in-house asset libraries being shared with either venue teams or freelancers, for accurate 'kitbashing' by artist, and even designer, in a similar process to creating a virtual model box. Building these 3D asset libraries, will represent a significant increase in capacity, even at this early stage. As we are late adopters of this technology, we will be subject to future technology evolutions inaccessible to other industries. This could be termed 'leapfrogging' in an economic sense, or 'second mover advantage' for vendors. Shared visualisation duties represent this technological capability that will be available and utilised in the coming years, for existing creative teams to build their digital twin without the support of a dedicated person. ## Shared Visualization Duties Across Show's Production Team As the industry moves towards a more integrated ecosystem, shared visualization duties across teams may become increasingly feasible. However, the current model is unsustainable without further standards adoption, and adding complexity without addressing underlying issues will only exacerbate problems. The following segment outlines hoe creatives can be empowered to operate digital twins with enhanced standardisation and interoperability - or risk falling behind. ### Standardisation must occur to empower creative teams Vendors will continue to develop quality-of-life tools for individual creative professionals, who will undoubtedly make use, but this approach won't unlock the full potential of production visualisation we have outlined.[^1] This just has not been necessary before, but will become increasingly so. At the rate of development of startups like Preevue and Younite, the risk of outsourced teams outperforming traditional creative teams, due to platform disparity, is very real. Service providers have optimized workflows that enable them to build entire shows from the ground up, potentially leaving traditional production teams behind. This disparity will highlight the need for better-integrated tools and more efficient workflows, moving forward. Production teams for shows are, unfortunately, subject to greater forces beyond their control. A theatre production team comprised of creatives and technicians, with an advanced spatial platform at their disposal, would be greatly empowered in leveraging this technology, as they represent the fastest point, closest to the genesis of ideas and execution of any theatre production. ## Outsourcing / Service Model The outsourcing and service model is already showing success. Direct profit motive drives innovation, and more companies are likely to emerge in this area, especially if software solutions from top players are released or licensed. Larger tech firms, such as Autodesk or Disguise, may also enter the market with software solutions. External services will doubtless scale past and beyond theatre, towards top-level live events and productions, and will do very well. The centralised, totalised nature of previsualisation will give tomorrow's previs firms an advantage with client pitching: eventually delivering entire conceptions of all kinds of events and productions- effectively rubbing shoulders with high level creative agencies and production companies. They will have the advantage also, of licensing or remaining sole proprietors of their own tools. With this happening in the high end, smaller productions will be left completely unaffected by this success story, except to look up in wonder. Existing disparities therefore risk being exacerbated in the industry. It would be beneficial for large and successful previs vendors to remedy this- seeding the next generation of industry innovators as they do so - by encouraging, outreach, favourable software licensing, collaboration with education institutions - accessibility by any means necessary. ## Further Thoughts In any practical scenario, a comprehensive previs effort may involve collaboration with multiple asynchronous departments, which may cause scoping issues if revisions and deliverables are not properly defined to the respective parties. The infrastructure and expectations need to be set for this participation ahead of time: key lighting, cuing or design decisions need to have taken place, or have the capacity to take place digitally, to be reflected in previsualisation of any kind. In a more general sense, 'accessibility by any means necessary', really applies across the board in all areas of this rapidly developing field. Sharing of technology, creation of open standards, and building innovative cloud platforms will ensure that Spatial Previsualisation technology serves its practitioners, industry, and audiences properly in the long term. Digital-first approaches, live links, and freely shared assets will enable creatives to explore and provide feedback in-sync and in parallel. --- ### Footnotes [^1]: This involves further standardisation in: - Fixture definition - Rigging definition - Lighting animation i.e. moving heads - Cueing - Human-representative animation e.g. manual scene changes - Automation protocols - High-quality assets and textures - Digital speaker mapping, mixing and spatial audio codecs - HID control for digital twins across multiple vendors