As cultural artefacts, video games are complex, multi-faceted products that encompass creative practices from character and narrative, interaction and gameplay design, architecture, product and environment design to sound design and composition. Technically they bring together software engineering with maths and physics, AI with networks and user data. Bring these together with a dynamic and competitive commercial environment and a disrupted technology environment and a growing cultural significance and you can begin to appreciate the challenges faced by this industry. SMEs operating in the video games sector are subject to technological, market and platform disruption where platform access and 'discoverability' are significant challenges to product viability. These factors are exerting a downward pressure on innovation and the creation of original IP in the Dundee cluster. The InGame partnership will pursue a highly collaborative, embedded approach to R&D by establishing a dedicated a R&D centre at the heart of the cluster. Artists, designers and creative writers will be co-located with technologists and business specialists to offer a dynamic and responsive resource to engage with three significant high-level challenges - consolidated from issues raised through local consultation, a survey of over 700 UK games studios and the trade body's blueprint for growth - where combined collaborative R&D could lead to significant growth, sustainability and intensification for the computer games cluster in Dundee. Creative Risk: Over the last decade the dominant business model in the Dundee games cluster has shifted from a publishing model where development costs are borne by the publisher in advance of sales income; to a platform model where individual games companies carry the cost of development in return for as larger proportion of the sales revenue. As a consequence the risk attendant with the development of original IP for the games market is, more often than not, fatal for start-up and micro-SME studios. Technological Innovation: Working practices in this cluster are characteristically solution focused and iterative, and often inventive and ingenious. However, technology innovations are not systematically captured or tested for generalization or re-use value. Commercial pressure on value chains has inhibited SMEs from taking on the risk of high-value innovation activity resulting in lost economic opportunity and inhibited cluster growth. Organisational Development: The cluster is characterized by a high number of dynamic micro-SMEs creating content for mobile, tablet and PC gaming platforms. The city is also home to a smaller number of mid-sized SME's with established product portfolios ranging from original franchises, sub-contracted development for established franchises and studios developing games for console. There is a growing professional services sector (accountancy, legal) and cultural scene (galleries and events). R&D in organisational development in this context relates to start-up at company level through to cluster and ecosystem development. The education sector is foundational to the cluster; Abertay University's Center for Excellence in Computer Games Education is characterised by active and mature collaboration between businesses, universities, and agencies of every scale. The University's longstanding relationship with national and multi-national games companies offers a unique opportunity to catalyse the value chain in the Dundee cluster. The academic partnership with Dundee University in Design for Business, and St Andrews School of Management's expertise in Creative Industries offers a world-leading research base for the R&D partnership. The InGAME R&D Center and cohort of Creative R&D Fellows will establish a new mode of engagement for industry and universities to work effectively and responsively to meet the challenge of cross-sector collaborative R&D in the Creative Industries.

Virtual Production (VP) is a novel approach to media creation that utilises digital tools such as computer-generated imagery, motion tracking and virtual and augmented reality to produce immersive media experiences that appear realistic. Used more widely in the gaming, film, and television industries, the application of VP technologies to the live performance industry has yet to be fully explored. Despite the environmental and creative benefits of VP, the technology is currently expensive, highly specialised, and out of the reach of most small production companies, creating a significant skills gap. The development of new, accessible, low-cost technologies and frameworks targeted at real creative sector needs is therefore essential for UK industry to maintain a competitive digital economy. To this end, the University of York, in collaboration with our core project partners, Production Park, Screen Yorkshire, Wakefield Council, Vodafone, and York and North Yorkshire Local Enterprise Partnership, have created the CoSTAR Live Lab - a world-leading facility in the research and development of novel immersive and interactive technologies. Our lab supports the rapid convergence of the UK screen and performance sectors within the framework of live performance and the metaverse. Directed by the University of York, which has a track record of delivering high-impact XR technologies and developing the creative industry in its region, and based at Production Park, the UK's largest live production facility, in the heart of West Yorkshire. The CoSTAR Live Lab facility focuses on developing market ready products and services utilising immersive technologies, achieved by building a unique laboratory infrastructure on top of a thriving state-of-the-art commercial VP facility. This is the only specialised research facility in the world where the creation of production tools, workflows, and content for networked immersive virtual live performances coexists with a campus of businesses committed to live performance. Our main goal is to develop innovative, low-cost technologies and efficient workflows to transform the live performance sector, boost the growth of small and medium-sized businesses in the region, and contribute to the expansion of the wider UK creative sector. CoSTAR Live Lab includes three main laboratory spaces: a large volume commercial VP stage with high resolution motion tracking, LED panels and 3D immersive sound; a performer-performer / performer-audience network lab; and an end-user experience lab for VP. It also houses a team of world-class researchers dedicated to creating innovative and novel technologies that are close-to-market and shaped by the needs of industry. The facility enables commercialisation of the research and will incubate start-ups and high-growth SMEs. Our unique Access programme encourages public and industry participation in R&D activities, workshops, networking events, technology showcases, lectures and symposia. Within the CoSTAR ecosystem the Live Lab contributes a unique capability to develop technologies for future live performance experiences using VP, from small-scale pilots to arena-sized productions, and will deliver scalable, efficient, and accessible workflows, paving the way to position the UK as the leader in immersive and interactive live production experiences.

Understanding human skin appearance is a subject of great interest in science, medicine and technology. In medicine, skin appearance is a vital factor in surgical/prosthetic reconstruction, medical make-up/tattooing and disease diagnosis. The production of facial prostheses to replace missing facial structures requires the skills of highly trained anaplastologists to correctly match the shape and colour of the prosthesis to that of the host skin. With the 3D printing of human skin now available the process involved in matching natural and manufactured skin samples has become essential; a robust, accurate and efficient imaging system is required that acquires the relevant skin information and predicts a good match and translates this information through this new and innovative manufacturing process. A major problem with manufactured skin is that the match to the individual's natural skin must hold not only be accurate under a particular ambient illumination but the match needs to be preserved when the individual is moving between different environments, e.g. when the individual moves from office or LED lighting into daylight. To achieve this illumination invariance, the physical properties of the skin need to be taken into account. A further requirement for successful skin reproduction is the development of appearance models. These can be considered as individual "recipes' or 'blueprints" for each skin type and these not only represent inter-personal differences - different ethnic groups and age ranges, but also intra-personal differences - for each individual. Features of the human skin (wrinkles, pores, freckles, spots etc) make human skin as individual as a finger prints and thus, for facial prosthetics applications, skin appearance models also need to be fine-tuned for each individual area. The purpose of this work is to develop a complete spectral-based 3D imaging system which will allow us to additively manufacture soft tissue prosthetics or deliver predictable tattooing techniques that will exactly match the skin colour of a particular individual (Application 1) or have the capability to rapidly manufacture/3D print soft tissue replacements representative of a particular ethnic/age/gender group with a high degree of accuracy (Application 2). In application 1, the input to this 3D imaging system will consist of a 3D colour skin image (of a particular individual) obtained with a 3D camera in conjunction other specific skin characteristics. The skin sample will then be printed using a printer profile that maximises the match between the natural and printed skin across different ambient illuminations. In application 2, the skin manufacturing process will not be fine-tuned for a particular individual, but input to the 3D imaging system will consist of basic information about the age, gender and ethnicity. Representative skin samples (colour; texture; translucency; geometry) for this group will then be loaded from a pre-computed library instead of using the measurements from an individual.

The creative industries are crucial to UK social and cultural life and one of the largest and fastest-growing sectors of the economy. Games and media are key pillars for growth in the creative industries, with UK turnovers of £3.5bn and £12.9bn respectively. Research in digital creativity has started to be well supported by governmental funds. To achieve full impact from these investments, translational and audience-facing research activities are needed to turn ideas into commercial practice and societal good. We propose a "Digital Creativity" Hub for such next-step research, which will produce impact from a huge amount of research activity in direct collaboration with a large group of highly engaged stakeholders, delivering impact in the Digital Economy challenge areas of Sustainable Society, Communities and Culture and New Economic Models. York is the perfect location for the DC Hub, with a fast-growing Digital Creativity industry (which grew 18.4% from 2011 to 2012), and 4800 creative digital companies within a 40-mile radius of the city. The DC Hub will be housed in the Ron Cooke Hub, alongside the IGGI centre for doctoral training, world-class researchers, and numerous small hi-tech companies. The DC Hub brings: - A wealth of research outcomes from Digital Economy projects funded by £90m of grants, £40m of which was managed directly by the investigators named in the proposal. The majority of these projects are interdisciplinary collaborations which involved co-creation of research questions and approaches with creative industry partners, and all of them produced results which are ripe for translational impact. - Substantial cash and in-kind support amounting to pledges of £9m from 80 partner organisations. These include key organisations in the Digital Economy, such as the KTN, Creative England and the BBC, major companies such as BT, Sony and IBM, and a large number of SMEs working in games and interactive media. The host Universities have also pledged £3.3m in matched funding, with the University of York agreeing to hire four "transitional" research fellows on permanent contracts from the outset leading to academic positions as a Professor, a Reader and two Lecturers. - Strong overlap with current projects run by the investigators which have complementary goals. These include the NEMOG project to study new economic models and opportunities for games, the Intelligent Games and Game Intelligence (IGGI) centre for doctoral training, with 55+ PhDs, and the Falmouth ERA Chair project, which will contribute an extra 5 five-year research fellowships to the DC Hub, leveraging £2m of EC funding for translational research in digital games technologies. - A diverse and highly active base of 16 investigators and 4 named PDRAs across four universities, who have much experience of working together on funded research projects delivering high-impact results. The links between these investigators are many and varied, and interdisciplinarity is ensured by a group of investigators working across Computer Science, Theatre Film and TV, Electronics, Art, Audio Production, Sociology, Education, Psychology, and Business. - Huge potential for step-change impact in the creative industries, with particular emphasis on video game technologies, interactive media, and the convergence of games and media for science and society. Projects in these areas will be supported by and feed into basic research in underpinning themes of data analytics, business models, human-computer interaction and social science. The projects will range over impact themes comprising impact projects which will be specified throughout the life of the Hub in close collaboration with our industry partners, who will help shape the research, thus increasing the potential for major impact. - A management team, with substantial experience of working together on large projects for research and impact in collaboration with the digital creative industries.

Intelligent Visual and Interactive Technology allows us to perceive, understand and re-create the world around us. With it we can digitise the world with 3D cameras, use Artificial Intelligence (AI) to predict and enhance the health of people within our world or to educate and train them. It allows us to experience this world, or imagined ones, through immersive technologies, movies and video games, and interact with these worlds through technologies that analyse our movement and behaviour. There is a clear benefit to applying this technology across domains, for specific health or education purposes, but doing so requires coordinated action and genuine democratisation of the underpinning technologies, such that non-expert users are empowered. To address this challenge, CAMERA 2.0 will perform world-leading research in Intelligent Visual and Interactive Technology - underpinned by academic and partner expertise across Computer Vision, Computer Graphics, Human Computer Interaction (HCI) and AI - and engage a range of partners to generate impact and translate this technology across a range of themes. This multi-disciplinary approach is supported by academic and external partner expertise spanning healthcare, biomechanics, sports performance and psychology. These collaborations will allow us to carry out new research, create new impacts and develop further partnerships that would otherwise be impossible to achieve. This proposal builds on our highly successful Next Stage Digital Economy Centre for the Analysis of Motion Entertainment Research and Applications (CAMERA). Over the last 4 years, we have built a team of 14 academics and over 40 PhDs and researchers who have created real impact, alongside our partners, across themes of i) Entertainment; ii) Health, Rehabilitation and Assistive Technologies and; iii) Human Performance Enhancement. CAMERA 2.0 will also focus on three themes, supported by over 20 impact partners: i) Creative Science and Technology, ii) Digital Health and Assistive Technology and iii) Human Performance Enhancement. Furthermore, CAMERA 2.0 will work closely with our EPSRC CDT in Digital Entertainment and our new UKRI CDT in Accountable, Responsible and Transparent AI (ART-AI). Our research programme will deliver continuing impact through four primary mechanisms: (i) Theme Driven Impact Projects, (ii) Cross-Cutting Theme R&D Challenges, (iii) Reactive Impact Projects and (iv) Open Community Engagement. Theme Driven Impact Projects will be 12 to 24-month projects co-designed through sand-pits and co-delivered with partners. Although primarily aligned with a single theme they will overlap with at least one other. Our Cross-Cutting Theme R&D Challenges engage with R&D challenges shared by partners/academics across themes. Translating innovations across themes not only democratises and accelerates technology adoption but can significantly enhance impact. This will be addressed through key research projects, that support and feed into all other activities. Our reactive model allows us to carry out commercial projects as research impact vehicles at short notice - essential being able to work with the short-deadline driven creative sector. CAMERA 2.0 evolves our unique reactive impact model by placing our CAMERA student technical team at its core under the supervision of our experienced studio managers. Impact through Open Engagement. Our ambition is to raise the level of UK and international DE research through collaboration and technology democratisation. CAMERA 2.0 will operate an open-door model for reasonable access to facilities, data, software and training. In coordination with commitments from the University of Bath and external EU funding we are expanding our physical facilities and technical team to provide assisted motion capture and immersive technology training for free to over 100 creative industries, HEIs and healthcare companies.