This practice-led research examines how virtual production represents a circular return to scenographic practice, reactivating integrated modes of spatial authorship that have long underpinned screen storytelling but were obscured by industrial fragmentation. Drawing on a single-day intensive workshop at the Australian Film, Television and Radio School (AFTRS), the study analyses how spatial authorship emerged through embodied, collaborative engagement with an LED volume environment. Grounded in scenographic theory and concepts of distributed cognition and situated authorship, the article reframes virtual production as a condition that renders pre-digital, collaborative modes of making visible within contemporary screen production. The LED volume functions simultaneously as scenic environment, lighting instrument, and compositional partner, requiring participants to negotiate space, light, movement, and camera as a unified spatial event. Analysis identifies how scenographic understanding emerged through virtual scouting, world-responsive storytelling, physical-digital integration, and embodied realisation. The findings extend production design theory by challenging ocular-centric models of mise-en-scène and positioning scenographic integration as screen practice—an epistemic mode of enacting through collective, materially grounded spatial experimentation. While situated within an educational context, the study points to broader implications for how spatial authorship and collective practice are understood in contemporary screen production.
Natalie Beak (Wed,) studied this question.