Beat Bully inception was inspired by Upstander a 360 non-interactive experience made in partnership with the Diana Award and the VR for Good Creator's Lab. Beat Bully was originally pitched as an interactive VR experience but was scaledown due to scope consideration. Upstanding build from this 360 experience to push the boundaries creatively and explore the experience in unique ways.
It is a case study of sustainability and the democratization of XR animation creation. We hope some of the processes we explored will help reduce the friction of producing XR content, making it easier for XR content creator's to create higher quality content so they can make advance the medium so social good. 
Creating for VR is very hard and can be overwhelming. It is why scaffolding and breaking it up to small steps are needed. What is the one thing we need to do now? Following the twenty eighty rule principle, I identified 20 percent of the critical factors that accounted for 80 percent of the results. Substantial time was spent improving these essential elements through testing and getting feedback before moving forward to less important details. Embracing this principle led to working very slow at the beginning of the production and devoting a considerable amount to time on the key components such as story, and pipeline development before focusing on less important elements. A significant amount of time dedicated to Pre-production planning and prototyping were essential in maximizing the resources. We had as a minimum viable product early to help to test the project creatively and technically. Many changes and failures occurred during this early stage. Getting early and frequent feedback allows for fine-tuning the experience and production pipeline, we identify issues soon and when it was easier to fix. These enable me to maximize my animation production to be very agile and quick during production, as there were very few redos.
Also, the use of the advances in Real-time rendering was pivotal as the production leverage the digital asset market place to save on time and money. The digital asset library provided a template for the backend for work of texturing, lighting, and rendering. This practice gave the production a head start and freed up the principal creator's time to work in their area of expertise and interest, such as story, layout, and animation. The savings on the backend development help reduce the friction, enabling production to adopt a one-person studio workflow for front end work. Empowering the creator to take creative risks, push boundaries, and to do more with less.
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