A Journey of Creative Chaos in VR Production
As many of you may already know, it’s been nearly two years since I embarked on my master’s journey to learn the art of crafting digital narratives at the International Filmschule Köln. Over the course of four jam-packed semesters, I have delved into numerous academic theories and a variety of practical applications in the art and science of storytelling. But today, I want to focus on the real deal — the hands-on, boots-on-the-ground experience that truly inspired me and taught me some really cool skills. I want to take you all on a wild ride through the twists and turns of producing Zamia, a virtual reality (VR) project that tested every ounce of my creative mettle. But before diving into the nitty-gritty, let’s rewind a bit.
Back in the early days of the first semester, I found myself at odds with a label that just didn’t seem to fit: “producer.” Now, don’t get me wrong, there’s nothing wrong with being a producer, but me? I saw myself as a writer, a director, a visionary — who sometimes works as a producer. But as fate would have it, every time I opened my mouth, my lecturers and later classmates slapped that “producer” sticker on my forehead faster than you can say lights, camera, action. And let me tell you, that didn’t sit very well with me.
Fast forward to the Zamia project, I found myself wearing all these hats — writer, director, producer, you name it. And I gotta tell you folks, it was like trying to juggle chainsaws while riding a unicycle. The creative in me wanted to soar, to push the boundaries of what VR storytelling could be. But the producer? Well, he had other ideas — ideas that involved timelines, budgets, and all the pesky practicalities.
I had a lot of ideas in the first semester, and I was not sure how to go about them. I had visions of a rich Maasai warrior and an African underwater world dancing in my head, but choosing the right path? That was a whole other story. Eventually, I settled on the underwater cultural heritage project, and let me tell ya, it was a game-changing decision. But with every step forward, there was a stumble or two. The creative in me wanted the moon and the stars, but the producer hat? Well, it just looked at me and said, “Let’s see.” There was a lot of convincing myself that it was all doable.
In the second and third semesters, I dived deep into narrative building and prototyping. I was able to navigate the murky waters of VR storytelling with all the finesse of a seasoned sailor. But as it got deeper, I found myself tangled in a web of technical challenges and budget constraints. The ‘creative me’ pulled me in one direction, and the ‘producer me’ pulled me towards another. I found myself caught in the middle, trying to find some semblance of balance.
By the fourth semester, I was knee-deep in production sprints and user testing. My head was spinning faster than a tornado in a trailer park. But throughout, I kept my eyes on the prize, making a functional prototype. I faced challenges head-on, from technical hiccups to budget woes, and came out stronger on the other side. As I wrap up the project, I can’t help but reflect on the journey I have been on — the highs, the lows, and everything in between.
So there you have it, folks. The journey of producing Zamia, a project that pushed me and my team to the brink and back again. Although the road was rocky, I wouldn’t trade it for the world. Because in the end, it’s not about the labels or the titles — it’s about telling stories, pushing boundaries, and making magic happen. And as for me? Well, I reckon I’ll always be a creative, a dreamer — and yeah, let’s just make it “Creative Producer.”
