Term 4: Immersive Adventures
WIP demonstration video. This shows some of the elements being brought together but we still have a lot more work to do.Â
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Term 4: Immersive Adventures
WIP demonstration video. This shows some of the elements being brought together but we still have a lot more work to do.Â

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Term 4: Immersive Adventures
Weegee was known for his gruesome photographs. These were scenes people hadn’t witnessed before. There are even reports of Weegee positioning dead bodies to look better in photograph. To continue this gruesome legacy we wanted to test having Beetle’s deceased virtual body tracked to a physical body lying in the space. To do this we needed a virtual Beetle. We used prosthetics to create bullet wounds in the same positions they appear in photographs of the scene. We then 3D scanned the face and anchored it to a pre-rigged body in Unity.Â
However gruesome, crass or silly this tracking may sound, we wanted to test some quite serious ideas. How will people interact with a dead body in a virtual space? Will it differ from the real world? Does the noir style add or detract from these differences?Â
The project challenges some of the deterministic language that currently surrounds VR, such as immersion and presence, and the belief that a combination of the two can provoke empathy.
Term 4: Immersive Adventures
Screen grabs of the actors positioned in the final scene. The audio from the characters was also positioned coming directly from them in the ambisonic audio. When the girl is triggered to appear at the window, we also triggered a light coming on in the room, and the virtual window opening with her hands.Â
Frustratingly Unity has stopped support for green screen, so we instead had to use a workaround that left the characters slightly transparent. Luckily this wasn’t as noticeable in VR.Â
Term 4: Immersive Adventures
On-boarding narration explaining the story of Weegee and Beetle and the virtual scene they are about to enter. The narration is accompanied by a piece of Mexican cinema soundtrack from the 1940′s which we will also use in the scene (the music is out of copyright).Â
Term 4: Immersive Adventures
Finding a 1940′s police costume. Hat: Ebay £2. Badge: Amazon $1. Jacket: Ebay £4 second hand women’s coat. Luckily film hides the imperfections.Â

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Term 4: Immersive Adventures
Shooting our two featured actors against green-screen.Â
We paid close attention to the lighting and shadows in the original photograph and the planned positions for our characters in the scene - to ensure the lighting seemed correct. We also had to consider where the viewer would likely be stood in the virtual scene, when these videoed characters appeared. We tried to position the characters in relation to the camera, as they would be to the viewer. Hopefully this makes the perspective feel more natural to the viewer.
Term 4: Immersive Adventures
Three radio calls to be triggered at different points in the experience. Each call features a genuine clue from the murder.Â
Term 4: Immersive Adventures
With our environment built, we began refining the technical ideas we wanted to bring in to the project. These included: trackers on a real object or person, bringing genuine actors in to a virtual space, and ideas around how to transition between physical and virtual worlds. Â
With these technical ideas in place, I began to write a script that incorporated them. I used police records about Beetle’s murder, newspaper clippings, and Weegee’s memoirs to write nonlinear scripted historical fiction for three characters that would appear in the scene when the viewer interacted with specific things. The characters were: A police chief coming from the car radio (audio only), a police man that walks in to scene and introduces aspects of the scene (video), and a women that shouts down from a window (video). I also wrote introductory on-boarding narration. Â