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This article is an interdisciplinary reflective response to an intensive studio learning and teaching experience involving artists, academics and postgraduate students. The authors of this article teach, research and practise in coding, digital design, dance, and virtual and live performance. As lecturers and students we reflect upon and propose future approaches to art practice in tertiary education informed by live performance, performance capture and studio‐based responses to digital and virtual platforms. We reflect on an innovative contribution to the field of research–teaching nexus as informed by digital and virtual data capture identifying the key element of immediacy in live performance and choreographic improvisation with systems. We reflect on practice‐based inquiry via the Choreographic Coding Lab (CCL) model – a dialogical negotiation between capture technology and interdisciplinary artists in industry and academia. How can we encourage potential studio inquiry as an adapted model in tertiary learning and teaching? Our interdisciplinary voices, presented as authors’ reflections, provide suggestions for future studio‐based, active learning contexts.

Film, television and media production are subject to consistent change due to ever-evolving technological and economic environments. Accordingly, tertiary teaching of subject areas such as cinema, animation and visual effects require frequent adjustments regarding curriculum structure and pedagogy. This paper discusses a multifaceted, cross-disciplinary approach to teaching Visual Narratives as part of a Digital Design program. Specifically, pedagogical challenges in teaching Visual Storytelling through Motion Capture and Visual Effects are addressed, and a new pedagogical framework using three different modes of moving image storytelling is applied and cited as case studies. Further, ongoing changes in film production environments and their impact on curricula for tertiary education providers are detailed, and appropriate suggestions based on tangible teaching experience are made. This paper also discusses the advantages of teaching Motion Capture in the context of immersive environments.Keywords: motion capture, visual storytelling, narrative, visual effects, curriculum Outline and BackgroundVisual Storytelling has been used in various contexts, from marketing [Mileski et al. 2015] to film [McClean 2007] and even games [Howland et al. 2007]. While the Digital Design program at Auckland University of Technology utilizes Visual Narratives in different contexts throughout the curriculum, the focus of this paper is on film and immersive environments.Teaching Visual Storytelling or Visual Narratives poses significant challenges to educators and students alike. The topic requires a * e-mail:gbennett@aut.ac.nz † e-mail:jkruse@aut.ac.nz solid theoretical foundation, and could traditionally only be explored through theory and examples in a lecture/lab style context. Particularly programs that aim to deliver content in a studio-based environment suffer from the complexity and cost-time-constraints inherently part of practical inquiry into storytelling through short film production or visual effects animation. Further, due to the structure and length of Film, Visual Effects and Digital Design degrees, there is normally only time for a single facet of visual narrative to be addressed, for example a practical camera shoot, or alternatively a visual effects or animation project. This means that comparative exploratory learning is usually out of the question, and students might only take a singular view on technical and creative story development throughout their undergraduate years. Normally only postgraduate study offers sufficient time to understand and explore multiple facets of filmic narratives. Film production pipelines in general, and visual effects workflows in particular, have seen a significant paradigm-shift in the past decade. Traditional workflows are based on frequent conversions between two dimensional images and three dimensional data sets [Okun and Zwerman 2010]. For example, the acquisition of camera images (digital or on film) projects a 3D world through a lens on to a 2D camera plane (sensor or f...

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