Speed11-Embracing Disruption: Taking Theatre Virtual
Embracing Disruption: Taking Theatre Virtual
For nearly a year the entertainment industry has been frozen around the world, from Hollywood to Broadway, from concerts to cruise lines, the pandemic has fundamentally disrupted the ways we create and consume content. In UNO’s theatre department, a flexible, proactive teamwork enabled us to pivot the way that we rehearse and present our work from traditional in-person experiences to high-tech, innovative film and virtual reality experiences at the cutting edge of the entertainment industry. Using video examples of our performances and our processes, we propose to share our journey from our first filmed performance at the beginning of the year, to our fully 3D Virtual Environment Shakespeare performance this Spring. By embracing the disruption, and allowing a passion for new technology and media to empower us, we have made a great leap forward in the educational experience of our students, in a way that positions us on the leading edge of what it means to create, explore, and communicate today. As is the world, our department is changed forever by the events of our time. But our reaction has empowered us with new tools and new practices that leave us stronger and more capable than ever, and will prepare our students for the multimedia future that is here sooner than expected.
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[00:00:03.432]My name is Steven Williams
[00:00:04.690]and chair of the Theater program at
[00:00:06.120]the University of Nebraska Omaha.
[00:00:07.980]I'm also the head of design and production.
[00:00:11.770]Hi, I'm Jason Jamerson.
[00:00:12.990]I'm an assistant professor of Scenic Design at UNO.
[00:00:17.230]So the Theater program at UNO
[00:00:19.190]is centered around practice.
[00:00:21.090]Everything that is learned in the classroom is put
[00:00:23.000]into practice during our rehearsals an live productions.
[00:00:26.259]So entering the unknowns of the pandemic,
[00:00:28.740]the end of our '19-2020 academic year came with a
[00:00:32.414]cancellation of five of our live performances,
[00:00:37.480]Our program was faced with a very difficult challenge,
[00:00:40.110]that extended beyond trying to figure out how do you teach
[00:00:43.380]acting online but, with the fundamental questions of how do
[00:00:47.256]we communicate or continue, sorry, to provide active
[00:00:50.525]learning opportunities for our students, while continuing to
[00:00:53.744]engage with our community through storytelling.
[00:00:57.970]So our first production was very much a reaction
[00:01:00.170]to the times.
[00:01:01.370]We wanted to use this time to plot
[00:01:04.010]to provide a platform for our voices to be heard.
[00:01:07.090]So we offered, in extending this opportunity
[00:01:09.790]to our students and offered them the opportunity to
[00:01:12.030]produce their own original work.
[00:01:14.420]They created the QWIT festival or
[00:01:16.493]Queer and Women Inclusive Theater festival.
[00:01:22.555]Uh, what we teach is communication and presentation.
[00:01:25.980]Everything that we do is defined by the limitations.
[00:01:29.338]So instead of starting with a blank page
[00:01:31.870]every time we have a new project in the theater
[00:01:34.150]we have limitations like the script, the size
[00:01:36.410]of the stage and the presence of the audience.
[00:01:39.850]When the pandemic hit, it didn't just make us step back from
[00:01:44.300]what we normally do.
[00:01:45.220]It also totally redefined our limitations
[00:01:48.360]which cracked open a lot of new paths for us to explore.
[00:01:52.170]So normally we would have an audience
[00:01:54.140]in the space and the space that the audience takes up,
[00:01:57.618]we work around that, we think about the sight lines from the
[00:02:01.050]audience to the performers and the amount of light
[00:02:03.270]that a real person needs to see in a space.
[00:02:06.610]And right away, we knew that we had to change everything
[00:02:09.580]if we were going to present productions online.
[00:02:12.150]So with QWIT, we kept our original set that we had designed
[00:02:16.741]for it, but we replaced the audience with cameras.
[00:02:20.670]And so we consider this a reactive fix to, to just get
[00:02:26.000]just to get our production
[00:02:28.520]on the internet so everyone could see it.
[00:02:30.590]These are a few pictures from the qwit festival.
[00:02:37.580]And overall, it was very successful.
[00:02:39.120]We were able to make changes on the fly to film it
[00:02:44.320]in a successful way and present it on YouTube.
[00:02:46.057]And it was seen by hundreds of people, Steven
[00:02:49.340]I don't know if you know the exact number, I can't remember
[00:02:52.400]Just shy of a thousand right now.
[00:02:54.260]Yeah, that's great.
[00:02:56.130]So here you can see our theater space
[00:02:58.610]and some of the changes of the paradigm
[00:03:02.310]of how we worked that were made on the fly to get this done.
[00:03:05.870]And that was our first project in this, in this series.
[00:03:11.650]One great thing about this is it gave us the opportunity
[00:03:13.680]to extend some new learning capabilities for our students
[00:03:17.330]because we don't deal a lot with film in our
[00:03:19.973]So we put students behind the cameras
[00:03:21.950]we assign students as directors of photography
[00:03:25.031]and each of the different nights that students
[00:03:27.270]would have the opportunity to dive
[00:03:28.800]into this idea of how does the director of photography work?
[00:03:31.660]How can I use the skills as a performer and as a director
[00:03:35.460]because we're very much under the liberal arts ethos.
[00:03:39.030]So is there, it was a great introduction
[00:03:40.420]to those different skillsets
[00:03:41.610]that we continue to learn throughout the season.
[00:03:44.857]So our second production was the musical song
[00:03:47.990]for A New World.
[00:03:49.670]Now we knew we wanted to approach this in a different manner
[00:03:52.230]because we knew we'd be, we'd be charging for ticket prices.
[00:03:54.890]So we really wanted to up the game
[00:03:56.640]even more in terms of production values.
[00:03:59.563]So this musical was a partnership with the school of music
[00:04:02.850]the school of communications broadcasting department.
[00:04:05.980]We invited broadcasting class to come over and work in our
[00:04:09.687]production in a live event so that we had four different
[00:04:12.910]cameras, five different cameras, sorry, set up.
[00:04:15.610]And we also brought in professional broadcaster
[00:04:18.690]and director of photography, Michael McCalsky.
[00:04:22.091]In return, the final video of our live performance was
[00:04:25.260]then streamed around the country.
[00:04:29.309]So for our second production,
[00:04:31.297]we designed it to be socially distanced
[00:04:34.690]because there was going to be a lot of singing involved.
[00:04:37.240]We specifically created the set design, let me move it here
[00:04:41.150]and had here to have every performer be at least
[00:04:44.050]12 feet apart and all of the performers to be at least
[00:04:47.607]12 feet from the cameras and all of the individual
[00:04:51.300]So we were lucky that we have such a
[00:04:53.260]large space to work with.
[00:04:54.921]And so instead of thinking about the sight lines from the
[00:04:57.790]audience to the performers, we were using this wholly new
[00:05:02.256]metric to distance things.
[00:05:05.980]And it was another arbitrary limitation that really
[00:05:08.660]inspired a lot of creativity by giving the performers
[00:05:12.010]these islands of stairs that they were able to perform
[00:05:16.514]from, oops too far,
[00:05:20.184]that went along with the nature of the
[00:05:22.301]show as well, because it's a series of vignettes where each
[00:05:25.187]performer sort of has their own story happening
[00:05:27.910]in the larger world that we created.
[00:05:34.340]here we were actively trying
[00:05:36.691]to let the limitations
[00:05:38.210]inspire us to do something new
[00:05:39.930]and it worked out really well.
[00:05:49.250]Yeah. So after at the completion, as long
[00:05:51.390]as for new world is, is a really good success for us.
[00:05:55.660]Jason and I had started work on some other things, many
[00:05:58.990]many of our professionals, since we were out of work
[00:06:01.200]we were out of our own freelance work.
[00:06:02.820]Jason and I are both freelance designers.
[00:06:05.110]So we utilized a lot of our time learning new technologies,
[00:06:09.412]learning, you know, new lighting consoles,
[00:06:12.280]all sorts of new skill sets.
[00:06:14.490]And Jason and I both dove into
[00:06:17.830]an online 3D renderer called
[00:06:23.550]Jason would take that up.
[00:06:25.000]Yes. So we were looking for ways that we could not just
[00:06:29.420]react and cover our bases, but to explore these new
[00:06:32.594]limitations in a way that would empower us to do things we
[00:06:36.149]could never do before.
[00:06:38.120]I was searching the internet looking for things that we
[00:06:41.873]I started looking into 3D modeling and I found a guy on
[00:06:46.360]YouTube named Ian Hubert.
[00:06:47.760]And he is a professional visual effects artist but he's also
[00:06:51.570]making science fiction films in his garage at home.
[00:06:54.620]So if you see what's on the screen now up top
[00:06:56.760]he's got a big green screen taped up.
[00:06:58.810]And then on the bottom is the final product.
[00:07:01.830]And after watching some of his videos many, many times
[00:07:04.940]because he's very advanced, but I started to look
[00:07:07.970]and see that what he was doing,
[00:07:10.110]I thought that we could do it.
[00:07:11.960]And so as I explored it more and he, you know
[00:07:15.875]there's so much about online learning that has beneficial.
[00:07:19.620]And one of the things is being able to watch something
[00:07:21.800]as many times as you want.
[00:07:23.350]I was doing that as a student, by consuming as much
[00:07:27.261]of this content as I could and learning all the software
[00:07:29.811]that it would take for us to be able to film our actors
[00:07:33.780]in a way that would let us put them
[00:07:35.850]into a virtual environment, not just to film them
[00:07:38.469]but to have a design as well.
[00:07:41.890]So all these screenshots show what Ian Hubert was doing
[00:07:44.141]but the first thing you do when you start learning blender
[00:07:46.846]is there's a famous tutorial called the donut tutorial
[00:07:50.670]the Steven and I both created donuts.
[00:07:53.620]And a while it seems like a simple thing,
[00:07:56.800]creating the shapes, giving them texture, giving them color
[00:08:00.160]giving them lighting and reflectivity.
[00:08:02.500]That's the entry point
[00:08:03.800]for being able to create something that's a realistic look.
[00:08:07.600]And so this is my donut.
[00:08:09.410]Steven's even better.
[00:08:10.760]He took a photo of a plate
[00:08:12.090]at home and put it into the environment.
[00:08:14.790]And so by exploring these things, we started to
[00:08:16.700]feel a little bit confident that if we took a risk
[00:08:20.148]it would be worth it to, to try to do this
[00:08:25.440]for our students to expand what we were capable of.
[00:08:28.010]So here is a, here's a shot of a, an image of me.
[00:08:31.430]I was, I filmed myself in front of a green screen
[00:08:34.480]and then you put that into the software
[00:08:36.600]get the green screen out
[00:08:38.040]and you can put that footage of an actor.
[00:08:39.890]It's kind of like a 2D cardboard cutout that can be
[00:08:43.933]And you can put that into any virtual environment
[00:08:46.570]that we could create.
[00:08:50.230]And so I made a sample of myself doing a little monologue
[00:08:53.500]from the Henry, the fifth prologue
[00:08:55.500]and I showed it to my colleagues after I had finished it.
[00:08:58.520]And we decided that it was worth the risk and worth the
[00:09:01.017]the chance that we had, we had enough comfort
[00:09:04.170]with filming and the scheduling and the planning.
[00:09:06.770]We had enough comfort with exploring this new technology
[00:09:11.058]that we would take a big leap forward
[00:09:12.330]into trying to produce a virtual production where
[00:09:15.360]the entirety of it existed only within the software.
[00:09:21.150]So as we looked forward in our season
[00:09:22.950]and with that knowledge of this new technology, mainly
[00:09:25.330]that Jason had taken, I always got so stuck on the donut.
[00:09:29.070]He went farther away, way farther, as I stepped back
[00:09:31.520]and said, how can I, how can the department support him?
[00:09:34.480]So we created a 60 foot wide by 24 foot tall green screen
[00:09:38.288]and floor that could accommodate
[00:09:40.670]three different camera angles.
[00:09:42.950]We employed and trained our own student camera operators.
[00:09:45.750]And our own director
[00:09:46.583]of photography was their student as well.
[00:09:49.210]And producing in front
[00:09:50.410]of the green screen was certainly a new challenge
[00:09:52.982]for all of us, including our performers.
[00:09:55.113]We were challenged with lighting angles, camera angles
[00:09:57.600]the pacing shooting things, you know, very much
[00:10:00.920]like film does they way shoot things out of sequence
[00:10:03.583]how we storyboard and then the scheduling
[00:10:06.443]how we schedule all of these tech rehearsals
[00:10:09.880]still following the CDC guidelines for social distancing
[00:10:13.250]airing out our space.
[00:10:15.530]All of the things that we've all been dealing with
[00:10:17.480]over the past year and a half.
[00:10:20.543]But because we had already been disrupted and our normal
[00:10:23.270]schedule of events and our normal ways of doing things had
[00:10:26.370]been broken open and we couldn't do them.
[00:10:28.840]We were open to taking these risks.
[00:10:30.910]And so over the course of the year three, four projects
[00:10:33.137]we incrementally stepped into new methods
[00:10:35.948]and collaborations with other departments
[00:10:37.940]like our collaboration with communications.
[00:10:42.470]So we started doing this project and my thought was
[00:10:45.100]we're bringing Shakespeare into technology.
[00:10:48.390]And so what I'll do is I will take these classic paintings
[00:10:52.740]and I'll bring them forward into technology.
[00:10:54.930]So within the blender software, I turned all these
[00:10:59.280]two dimensional paintings into 3D places that we could put
[00:11:03.148]the actors for each of the scenes.
[00:11:06.500]Sorry, was that a question?
[00:11:09.230]Okay. So here are some screenshots
[00:11:12.279]from the production itself and you can see these
[00:11:15.688]the actors in the spaces of the performance.
[00:11:23.792]So we, now we have a little video here that was made a
[00:11:26.761]little in length.
[00:11:28.410]It's less than two minutes.
[00:11:29.380]It's a short documentary
[00:11:30.450]about our process and how exactly we did that.
[00:11:33.100]I'm going to play that for you now, wave vigorously.
[00:11:36.605]If you can't hear it or see it
[00:11:44.742][Documentary Playing] I've always send the boat
[00:11:59.137][Woman Off Screen] Can't hear it.
[00:12:02.158][Documentary Playing] This project, there is no limitation
[00:12:05.172]because it's the virtual.
[00:12:06.595]You can be as large and this complicated
[00:12:08.093]that we want it to be because
[00:12:09.083]Jason, want to restart it, we kind of lost right at the
[00:12:11.830]beginning of that.
[00:12:22.869][Documentary Playing] I've always said that the limitation
[00:12:25.979]really power you when you're creating a design
[00:12:32.523][Documentary Playing] whether it's the stage
[00:12:38.520]whether it's the timeline.
[00:12:43.400]In this project there's no limitations because it's virtual.
[00:12:46.650]It can be as large and as complicated as we want it to be.
[00:13:04.330]Hi, I'm Jason Jamerson.
[00:13:05.380]I'm an assistant professor of Scenic design at UNO.
[00:13:09.301]To me, what the biggest challenge is
[00:13:11.619]that what we're doing is we're taking video of actors
[00:13:13.280]in front of a green screen, removing the green screen
[00:13:15.820]and placing them in a virtual environment.
[00:13:17.520]So this isn't really just using green screen
[00:13:19.600]where we can replace the background.
[00:13:21.990]We're actually taking that footage
[00:13:23.900]and we're placing it in a 3D world.
[00:13:26.060]And so what that means is I can have scenery
[00:13:27.492]in front of people.
[00:13:28.600]I can move scenery around objects.
[00:13:30.590]Then I can even change their lighting.
[00:13:37.570]I probably got two
[00:13:39.000]or 300 hours so far in creating the virtual environment.
[00:13:42.610]And I've got dozens of hours already
[00:13:44.606]but it will come to five or 600 more hours.
[00:13:47.677]I'm sure by the time remove the green screen
[00:13:50.390]from all of the footage and place the actors back.
[00:13:59.938]And so since we're taking Shakespeare to technology
[00:14:02.810]I thought these old paintings that a lot
[00:14:05.210]of them you're going to recognize.
[00:14:06.350]A lot of these paintings are the most famous paintings
[00:14:08.380]in the world.
[00:14:09.213]It's something that you're comfortable with
[00:14:10.860]but you're going to be seeing them
[00:14:11.890]in a brand new light for the first time.
[00:14:13.344]And that's exactly what's happening with this play
[00:14:16.300]with Shakespeare, because you're gonna be seeing Shakespeare
[00:14:18.050]in a way you've never seen it before.
[00:14:49.268]I hope that we can look at the art and we can look
[00:14:51.600]at Shakespeare in a totally different, I hope that all
[00:14:54.460]of this serves to empower us because we started
[00:14:57.483]down this journey because of the pandemic and looking
[00:15:00.500]for a way to continue to do our work and continue to teach
[00:15:04.090]and for our students to continue to do their work.
[00:15:06.690]And my goal is for it, not just to be something that we did
[00:15:10.320]because we had to do it this way
[00:15:11.770]but rather that it become something that is as big
[00:15:15.620]and as beautiful as anything else we've ever done.
[00:15:17.730]That is wholly because that means we have grown
[00:15:20.859]as a result of this.
[00:15:22.200]Not that we just got by.
[00:15:30.267]Okay. So hopefully you could see a little bit more
[00:15:34.471]of how the actors footage went into the virtual environment
[00:15:39.490]there. Now I'm going to show not that again
[00:15:42.580]they show a short video clip of just a couple of scenes from
[00:15:46.320]the final product to show you kind of what we had.
[00:15:49.750]Welcome to our Shakespearian fantasy
[00:15:53.760]She'll be now with the countess Olivia.
[00:15:55.590]I am the dog.
[00:15:57.169]Huh? There she is! I bet the ancient privilege of the
[00:16:03.567]Unsex me here and build me from the ground to the tow top
[00:16:07.930]full of direst cruelty.
[00:16:10.440]I moved thee with my sword and one thy love
[00:16:13.238]doing the injuries,
[00:16:15.340]Come hither boy.
[00:16:19.681]♪ Intense medieval music ♪
[00:16:25.246]Get thee a good husband.
[00:16:28.040]I hope to see you one day fitted with a husband
[00:16:32.950]Not till God to make men of some other metals than earth.
[00:16:36.920]Luciana is with her sister's husband and triplets of
[00:16:41.390]She thinks ♪ woman singing ♪
[00:16:49.977]You have saved me in a happy hour.
[00:16:52.923]I was about to protest I loved.
[00:16:55.591]I do it with all my heart.
[00:16:57.912]♪ Singing ♪
[00:17:07.669]It encapsulates the emotional upheaval
[00:17:10.323]that many of the characters we met live in.
[00:17:12.990]Oh no, no, no, no, no!
[00:17:23.993]There we go.
[00:17:25.870]Great. So Unsex Me Here by Shakespeare
[00:17:28.020]has been viewed over 700 times on YouTube
[00:17:30.180]and it's brought our students experience in film
[00:17:32.900]acting and production.
[00:17:36.418]We also have partnered with the school
[00:17:38.710]of music to do a virtual production for this year's opera
[00:17:41.780]Hansel and Gretel, which was viewed over 500 times so far.
[00:17:44.960]And it's brought a new level
[00:17:47.062]of production value to the opera.
[00:17:49.750]So having taken this risk
[00:17:51.800]and getting our virtual
[00:17:55.740]production up and online
[00:17:58.095]if we were to have seen this video last year
[00:18:02.040]when we were planning
[00:18:02.873]out what we were going to do in reaction
[00:18:04.060]we would've been amazed and had no idea how to do it
[00:18:06.850]but by incrementally stepping towards it
[00:18:09.410]and getting more comfortable with our areas of operation
[00:18:12.940]as we approached risk, we were able to do these
[00:18:16.166]to the point that we were also able to say, Hey
[00:18:19.140]let's do an opera too, we'll squeeze
[00:18:20.810]in another production this year.
[00:18:23.280]So all of that really is a great achievement to
[00:18:26.440]help our students not just get through this pandemic
[00:18:29.610]but to help us move forward into new things.
[00:18:33.650]And so what we have next
[00:18:35.690]so here's a shot from the opera or the opera filming
[00:18:39.840]and here are two screenshots from Hansel and Gretel itself.
[00:18:43.920]So in a very similar fashion, we put the
[00:18:45.963]the performance of the opera into a 3D virtual environment.
[00:18:52.869]So the thing that's next for us is a virtual production
[00:18:57.270]of She Kills Monsters, Virtual Realms
[00:18:59.560]which is a play, it's a version
[00:19:01.890]of a play that was released solely to be performed virtually
[00:19:05.880]during this time.
[00:19:07.560]Steven, will you talk briefly about the
[00:19:09.870]your rights conversation that you had with them?
[00:19:12.430]Absolutely. So a Virtual Realms was released solely
[00:19:16.280]to be done on zoom and Jason
[00:19:18.389]and I going into this understanding of what he's capable
[00:19:21.770]of now of doing and what we can do as a production team.
[00:19:25.020]I reached out to the rights holders and at MTI and said
[00:19:29.510]we have this new approach that is very innovative
[00:19:33.861]that we want to take our experience to the next level.
[00:19:37.750]And they've given us the rights now.
[00:19:39.620]We're, we'll be recording those fully
[00:19:41.270]in our space in front of our green screen again.
[00:19:43.980]And this time Jason will be creating
[00:19:46.490]with hopefully with some of our students as well in this
[00:19:48.910]we'll be creating what you're seeing on the screen.
[00:19:50.620]Now, just as an example
[00:19:53.209]this is something that's not going from a photograph
[00:19:55.880]that he spent hours creating three-dimensional
[00:19:58.830]but now he's creating these spaces
[00:20:00.610]and we'll be able to create this
[00:20:02.681]for all of the different environments
[00:20:03.514]for She Kills Monsters.
[00:20:07.620]Great. So yeah, we're looking forward
[00:20:08.950]to having these real 3D objects in there to represent all
[00:20:13.187]of the different fantasy locations that this play
[00:20:17.340]that this play takes on and going forward, all these skills
[00:20:20.370]we'll be able to use to anything from doing short films
[00:20:24.635]to creating documentary material about our productions
[00:20:27.420]in the department, to doing a full-out virtual production
[00:20:30.510]and teaching classes and all of these is possible.
[00:20:32.794]Now that we, we can bring our students up to
[00:20:35.976]to do all of these things.
[00:20:43.140]Great well, that's kind of the end of our presentation.
[00:20:45.460]We have four minutes, it looks like there's any questions.
[00:20:56.035]Hi guys, Brevan Jorgenson from UNO,
[00:20:59.354]I'm one of the instructional technologists on campus.
[00:21:02.440]I just wanted to say, thank you so much for sharing this,
[00:21:05.020]I didn't know we were doing something like this on campus
[00:21:07.330]and I'm sharing your YouTube video with all my coworkers
[00:21:11.150]because I think it's phenomenal.
[00:21:12.400]So good job.
[00:21:13.710]Thank you so much.
[00:21:28.094]Jason, can you make that link
[00:21:29.380]to the YouTube video available in the chat.
[00:21:31.810]Yeah, I will. That's a great idea.
[00:21:33.680]Let me see if I know how to do that. [ Chuckles ]
[00:21:37.080]Do you guys have a timeline
[00:21:38.610]for your new play digital play when it's going to roll out
[00:21:42.966]It'll be the first production we do in the fall.
[00:21:46.680]It'll be, it comes out just before mid
[00:21:49.430]mid October will be our release date
[00:21:52.680]and that'll be our last
[00:21:55.660]fully digital production in our season, Next season.
[00:21:59.851]We'll be inviting our first audience into our space in
[00:22:04.240]It'll be their first audience in over 18 months.
[00:22:07.156]So, we're excited for that.
[00:22:09.090]Thank you, Jason.
[00:22:10.538]So Jason, just put that link to that video
[00:22:12.370]a little documentary in the chat.
[00:22:14.580]Feel free to share that with anyone.
[00:22:17.519]All of the other videos
[00:22:19.280]like the production and the operas are available
[00:22:21.710]in that same channel on the UNO CFM, YouTube channel.
[00:22:25.570]Jason, another question came through
[00:22:26.980]are you using a game engine
[00:22:28.380]like unreal for the 3D environments models?
[00:22:32.020]Yeah, that would be the next step
[00:22:33.210]and something I'm hoping to do for
[00:22:35.010]She Kills Monsters right now.
[00:22:36.510]I was just our, or for Unsex Me Here, we were creating all
[00:22:40.360]of those paintings in Photoshop and then importing them
[00:22:44.418]as image files into blender to create a full 3D
[00:22:48.390]environment that say could be immersive and interactive.
[00:22:51.310]Let's say we wanted to make not a film
[00:22:54.030]but to make this the same thing, but be virtual reality.
[00:22:57.540]We could do that through using a game engine like
[00:22:59.480]unity or unreal.
[00:23:00.650]And that's my next area
[00:23:02.370]of research to be able to create immersive content as well.
[00:23:05.850]There are a lot
[00:23:06.683]of other benefits to possibly using a game engine too
[00:23:10.620]but for our, for our virtual films, a blender is, is enough.
[00:23:15.258]And so as in going into the future
[00:23:17.439]we're going to be exploring, creating immersive content.
[00:23:20.520]So that's where we'll be concentrating
[00:23:22.430]on learning things like unreal, yeah.
[00:23:38.850]All right. I think it's like we're, we're done at that.
[00:23:41.230]So please share that video.
[00:23:42.700]Do you have any questions please reach
[00:23:44.699]to Jason or myself at University of Nebraska
[00:23:47.167]at Omaha and be more than happy to speak
[00:23:49.300]with you about this process or what's next in our world.
[00:23:53.670]Yeah. Thank you very much.
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