Project Title
AXON "The Train" VR Experience
Client
AXON (via Quarter4 Media & Springbok Entertainment)
Role
Creative Lead & Producer | Volumetric Performance Director
Purpose
Sales & Marketing Tool (Showcasing future of VR training for law enforcement)
Deployment
IACP 2021 Annual Conference & Exposition (New Orleans, LA)
Challenge
AXON, a leader in non-lethal weapons, body-cams, and training systems, sought to demonstrate the cutting edge of VR realism and its potential for future law enforcement training. The objective was to create a compelling, narrative-driven VR experience featuring lifelike characters and authentic environments, to be showcased at a major industry conference under a tight production schedule. This ambitious project required advanced volumetric capture technology and precise creative and technical execution.
Approach & Creative Vision
As Creative Lead and Producer, I was a primary creative and production force guiding this ambitious VR project. My role encompassed:
• Narrative & Conceptual Development: Collaborated closely with AXON's creative executives and expert law enforcement advisors to write and refine a script that placed the audience directly within a realistic narrative on a headset. The core concept focused on creating a compelling story with lifelike characters and highly authentic environments that would resonate with seasoned police chiefs.
• Volumetric Performance Direction: Directed the cast, including AXON CEO Rick Smith, through the intricate process of volumetric capture at MetaStage (a facility costing approximately $100,000/day). This involved:
Pre-Capture Workshop: Led intensive rehearsals with actors and former police officers in a space mapped to the capture stage dimensions. This ensured 100% realistic dialogue and performances, allowing actors to hone full scenes together and adapt to the unique constraints of the 108 visual, depth, and infrared camera systems, optimizing efficiency for expensive capture days.
On-Set Guidance: Orienting actors to the technology, "painting the world" for them in the abstract capture space, devising stand-in set pieces to minimize occlusion, and maintaining precise measurements to match photogrammetrically captured real-world sets.
Directing Non-Actors: Leveraging a trusted rapport built on previous projects, I guided CEO Rick Smith to deliver a confident and natural performance in a highly unnatural, technical environment.
• Volumetric Extras Direction & Production: Designed, directed, and produced a dedicated volumetric extras shoot at Springbok offices, utilizing a proprietary capture system devised by Springbok’s Director of Technology.
Directing & Casting Background Actors: Worked with over 30 extras in individual sessions, carefully crafting each performance to build a nuanced and reactive crowd scene for the train assault sequence, offering varied options for post-production.
COVID-19 Protocol Implementation: Managed production adherence to stringent COVID-19 safety protocols, including on-site testing and booking a specialized UV-C disinfection system for regular room sterilization.
• Authentic Environment Creation: Scouted and led photogrammetry shoots of iconic Los Angeles locations, including the interior of an LA metro train, a downtown metro station platform, and a famous diner. These highly detailed 3D environments were meticulously recreated in VR to provide an immersive and authentic backdrop for the narrative.
ProducING & Problem-Solving Under Pressure
I was responsible for constructing and managing the production team (ranging from 4 to 15 members, coordinating 8 actors with casting directors), overseeing pre-production, and planning logistics for both live-action shoots and volumetric capture. A critical challenge arose when severe technical issues during rendering threatened the entire production:
• Crisis Management – Volumetric Capture Corruption: The volumetric capture of the main character failed to create a usable 3D model correctly due to technical issues, likely caused by construction work adjacent to the studio. This resulted in intense artifacting on the lead character's 3D model after two weeks of rendering by the capture system provider.
• Innovative Recapture Solution: I rapidly devised and directed a process to recapture only the lead actress's performance. By utilizing visual focus points and inner-ear playback, I ensured her new performance precisely matched the timing and emotion of the original, maintaining perfect sync with other actors. This innovative solution allowed us to seamlessly substitute her performance, bypassing the need for a full re-shoot of the complex multi-actor scenes.
• Significant Cost Savings: This strategic intervention directly saved the production and client $30,000-$50,000 in potential overages, avoiding additional actor fees and costly rush fees for capture processing.
Key Features & Technology
The AXON VR experience leveraged:
• Cutting-Edge Volumetric Capture: Utilized the MetaStage for lifelike actor performances.
• Photogrammetry: Recreated highly detailed, authentic real-world environments.
• Hybrid Immersive Design: Combined traditional 3D animation for transformative transitions between sets and 360-video for background environments of famous LA locales.
• VR Platform: Deployed on the HTC Vive business VR headset, with design and development taking into account limitations in processing power.
Results & Impact
AXON's "The Train" successfully achieved its objective as a powerful sales and marketing tool:
• Pioneering VR Showcase: Effectively demonstrated AXON's vision for the future of VR training within law enforcement at major industry conferences and trade shows.
• Strong Brand Representation: The experience garnered positive feedback for its creative collaboration, realistic portrayal, and powerful representation of AXON's forward-thinking approach.
• Demonstrated Value: The client was highly satisfied with the final product and its strategic contribution to their vision, leading to subsequent creative project engagements.
• Career Advancement: My leadership and decisive problem-solving on this project directly resulted in my promotion to Creative Director and Head of Production at Springbok Entertainment.
