PhD journey – Horizon Centre for Doctoral Training Blog

post by Callum Berger (2021 cohort)

1. Placement at the Virtual and Immersive Production Studio

I started my placement back in July 2023, working with my industry partner AlbinoMosquito Productions Ltd run by Richard and Rachel Ramchurn based at the Virtual and Immersive Production (VIP) Studio at King’s Meadow Campus. The VIP studio houses a series of high-end technologies for artists and developers to use in creating projects and artwork. Technologies include motion capture, volumetric capture, pepper’s ghost holograms, tesla suits, and virtual reality (VR) headsets. Being one of the only studios to allow this range within the midlands, this was a great opportunity for me to work alongside other creators to gain experience into design and creation using a variety of technologies.

Throughout the first month of the placement, I worked alongside Richard on a series of different development projects, including working with artists to capture their performances. These performances ranged from tightrope artists to dancers with disabilities. It was incredible to see the range of diversity that these technologies allowed artists to express themselves.

2. Filming a Virtual Reality Experience

As the placement progressed into the second month, I began working with Richard to develop a virtual reality experience using volumetric capture. This project, funded by Arts Council England, aimed to produce an experience that took an audience through a futuristic Nottingham engulfed in a climate crisis, raising discourse with the audience around the current situation of the climate that we live in today. Planning for this project had begun in the previous year when Richard, Rachel, and myself looked into potential applications of a VR experience that was adaptive using brain data as a real-time input. Having decided on a climate crisis experience and the basis for this, we used the placement as an opportunity to bring this to life.

Working alongside AlbinoMosquito for the creation of a VR climate experience presents a series of challenges and opportunities, including moving from 2D to 3D space, digital environments, presentation of actors, and user interaction. Going beyond 2D film into a 3D space requires an awareness of visual surroundings. Users within the experience will have a 360-degree view of the environment, and therefore capturing actors and environments within a single camera viewpoint alone is not enough.

We decided to split the experience into a series of different scenes that would allow you to embody an individual from their perspective and witness different events unfold over time. The journey of the experience begins with a series of refugees moving to a camp within Nottingham, before engaging in a series of dialogue around concerns for their safety before tragedy befalls the group. I worked loosely with the writers for this, helping shape the direction toward more fearful aspects, in hopes of using this experience as part of my PhD.

Once the scripts were complete, we began casting for the experience, focusing on local actors to support the growth of the industry within Nottingham and surrounding areas. Casting involved potential actors sending in short demo tapes of themselves playing the role of a particular character they had been selected to act. From there, we made final decisions on who would be cast in the experience and were ready to move on to filming.

2.1 Filming with Volumetric Capture

Through testing, it was shown that fewer cameras used for each render produced a smaller workload and storage space requirement for the use of the captures. Therefore, Richard and I settled on ensuring that each scene used the fewest amount of cameras possible for each capture. The fewest cameras were decided on a trial and error approach that tested each scene setup and would determine the minimum amount of cameras necessary to capture all actors within the scene. This approach involved placing cameras that captured actors from the viewpoint of the user as shown in Figure 1. As the experience embodies the viewer in a point-of-view (POV) position, actors needed to be aware of where this virtual camera would be throughout filming. Therefore, we placed an ambisonic microphone in the position of the POV, allowing the actors to work around the space with awareness of the viewer’s location.

However, this presented an issue with calibration, as to set up the 3D space to be captured, cameras are required to be calibrated with each other which involves the need for overlapping space between cameras. To overcome this, pairing cameras were used so that calibration could be done. This allowed the calibration to work but now with the requirement of more cameras within a scene. Having returned to our previous predicament of too many cameras, I developed a program within Unity that would allow the removal of any chosen cameras from a recording. This took the metadata of a volumetric capture as input, calculated which cameras were used, and displayed them to the user. This then allowed us to remove any pairing cameras not needed for the final render and would output a new metadata file that stored this altered capture as a new capture that could be rendered with the new camera setup.

Filming took place over a week. Using the limited budget we had to ensure that we minimised travel and accommodation for actors where possible, utilising every day to capture all scenes for when actors were in. This meant planning which scenes were filmed each day and how we could split scenes up based on separate dialogues. After finishing filming, we were able to work on bringing the volumetric captures into a virtual world and building the environments around the actors.

Figure 1: An example setup for volumetric capture from the point of view of the viewer. POV is the experience viewer’s position. C1, C2, and C3 are the cameras used for capture. P1 and P2 are the cameras used for pairing. A1, A2, A3, and A4 are the actors within the scene.

3. Post-production of the Virtual Reality Experience

The final month of my placement involved bringing all the captures into Unity and working alongside a 3D graphics artist, Sumit Sarkar, and a sound artist, Gary Naylor, to bring the experience to life. Although we are still adding to and refining the experience, we have a complete draft and have begun screening this experience for audiences. The screenshots below show examples of the experience using the captures. We are now in the process of preparing this experience to be screened at film festivals in the summer.

Figure 2: A screenshot taken from one of the scenes known as Refugee.

Figure 3: A screenshot taken from one of the scenes known as Raid.

The placement allowed me to work in situations and on projects I’ve never had the chance to work with and has been invaluable to my PhD experience. I want to give a huge thank you to Richard and Rachel for their work throughout the placement, as well as all others involved with the projects to help me get the best out of my placement at the VIP studio.

post by Phuong Anh (Violet) Nguyen (2022 cohort)

I began my placement in the Data Science team of the Analytic Directorate at the Department of Transport in April 2023 to gain access to datasets for my pilot research. However, I feel that my internship officially began in July, when I was able to become familiar with my work and knew precisely what was expected of me. I still remember the rainy afternoon when I went to the warehouse to collect my IT kit. It was quite a funny memory, and now it is quite emotional to pack and return my kit as my internship is over.

My project

My internship was an integral component of my doctoral research on “Using personas in transport policymaking.” I aimed to combine various data sources to investigate the travel behaviour of various demographic groups, and then use this understanding to inform transport planning and policy formulation.

I began by examining multiple DfT data sources, including the National Transport Survey, Telecoms Data, and Transport Data dashboard. I arranged meetings with several data team members to ask them about how they analysed these data in previous projects. I also had opportunities to discuss with members of other teams including System Thinking, Policy, Social Research, and Data administration… to learn about their work and the policy-making process at DfT.

Since the official release of the transport user personas report in July, I have collaborated closely with the personas team. I began with an examination of the methodology for developing personas. I also attempted to apply additional data science techniques to the same dataset (National Transport Survey) to cluster travellers into distinct groups and compare the results of the various methods.

DfT published transport user personas. (https://www.gov.uk/guidance/transport-user-personas-understanding-different-users-and-their-needs).

I worked with the Social Research team to organise workshops introducing the potential of using personas in DfT’s work, such as Road Investment, AI Strategy, and Highway… In addition, as part of my research, I utilised the Social-technical framework theory to structure the transport system and then gathered data to present and analyse the interaction between personas and other transport system components. On the other hand, I learned how policy is formulated and I will continue to work with the Policy team to investigate how personas can support their work.

Some lessons for myself

About work

Working on the Data Science team, which is part of the Advanced Analytics Directorate, was an excellent opportunity for me to improve my statistics, mathematics, and programming skills. Colleagues were very knowledgeable and supportive. Through the team’s regular meetings and project summaries, I got a general understanding of which projects are active and which models and methodologies are used to solve the problems. Sometimes I found myself bewildered by mathematical formulas and technical models. Although I have studied Data Science in the past, which has provided me with a foundation in Data analysis and Programming, in real work data looked more complicated. The assignments in the placement have taught me how to overcome the challenges of dealing with multiple data types.

Working in Civil Service, I had access to numerous training resources, workshops, and presentations, including but not limited to Science and Programming, this course covered user-centric services, artificial intelligence, evidence-based policymaking, and management skills. This is why I regard my civil servant account to be so valuable.

I received numerous perspectives and comments on my research proposal thanks to weekly discussions with my line manager and multiple team members. Importantly, I learned how to present and explain my ideas and academic theories to people from diverse backgrounds, as well as how to make the ideas clear and simple to comprehend. I believe this is a crucial skill in multidisciplinary research, communication, and public engagement.

About working environment

This was also my first time working in civil service, a “very British” working environment. Even though I have more than five years of experience in the airline industry, it took me a while to become accustomed to office work. It could be because the working environment in Vietnam differs from that in the United Kingdom, business differs from civil service, and full-time office work differs from hybrid work.

In addition to the knowledge and expertise I gained, I learned a great deal about time management and how to use Outlook professionally to organise my work, as well as how to spend concentration time between multiple meetings every day. This was extremely helpful when having to divide my time between multiple tasks, such as PhD research, placement, and meetings with supervisors from various institutions. In addition, I believe that working in person in the office is more beneficial than remote working, having access to a larger screen. being able to meet and discuss with multiple people, rather than being limited to 30-minute meetings and a small laptop screen. Thus, I travelled to London every week. These regular catchups with my line manager/industry partner proved helpful because the industry partner was able to provide a realistic perspective and I was able to update them on my work and interact with other DfT employees who supported my research.

About my personal development

Since I began my PhD journey, I have experienced many “first-time experiences”, including my first time working in Civil Service. This placement is not only an integral part of my PhD research, but also provides me with a great deal of experience and lessons for my personal growth. It was so unusual and sometimes difficult, but it forced me to leave my comfort zone. I was confident in my ability to perform well, having had the previous experience of being an airline strategist in the past, but the new experience of being an intern, learning something new, made me humble and enthusiastic as if I had just started school.

My principal lesson is to simply DO IT, JUST DO IT. I believe that the majority of my depression stems from my tendency to overthink. There were times when I examined the data set and had no idea what to do. I was even afraid to send emails or speak with others. However, when I actually did what I should do – WRITE something and ASK some questions – and I saw results, I realised that that work is simpler than I originally thought. Then I learned that sitting in a state of distress and worrying about the future is ineffective in resolving the issue. I must take action and be diligent to see myself become a little bit better and better every day.

The summer was very short, and most colleagues took vacation time. Honestly, the internship was not “comfortable” in the beginning, but now I believe everything is going well. This placement is also assisting me in developing a clearer plan for my PhD project. I am grateful for the support and lessons I have gained from this opportunity, and I am considering another summer placement next year.

Tag: PhD journey

My Placement at the Virtual and Immersive Production Studio